
flaw PN 41U 

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ANALYSIS 

OP 

DRAMATIC AND ORATORICAL 
EXPRESSION; 

DEVELOPING 

THE ASSOCIATIVE KELATIONS 

OF THE 

ELEMENTS OP THE VOICE AND OF GESTURE, 

AND THE 

ADAPTATION OF THE ENGLISH LANGUAGE, IN ITS 

ORTHOEPICAL, SYNTACTICAL, AND 

RHETORICAL STRUCTURE, 

TO 

VOCAL AND GESTICULATORY DELINEATION. 
BY J. A. FOWLER. 



is 



PHILADELPHIA: 

LINDSAY & BLAKISTON 

1853. 



,f4 



Entered, according to Act of Congress, in the year 1853, by 

LINDSAY & BLAKISTON, 

in the Clerk's Office of the District Court of the United States for 
the Eastern District of Pennsylvania. 

STEREOTYPED BY J. FAGAN. PRINTED BY C. SHERMAN. 



PREFACE. 



The design of this manual is indicated by the 
title-page. To develope "the associative rela- 
tions of the elements of the voice and of gesture," 
necessarily involves the consideration of each ele- 
ment as an instrument of mental exposition. 
The fundamental principles of Hush's Philosophy 
of the Human Voice, in regard to the structure, 
modification, and division of vocal sound in 
speech, and the system of Austin's Chironomia, 
so far as it relates to the executive principles of 
gesture, furnish part of the elementary basis. 
The works of Walker, Steele, Sheridan, &c, and 
those works which are mainly applications of the 
principles of Bush and Austin, have been duly 
considered, and some suggestions partially adopt- 
ed. In executing the purpose of this treatise, 
the author was led to ascertain and point out 

other forms of stress, modes of concrete progres- 

(iii) 



IV PREFACE. 

sion, divisions in intonation, and distinctions in 
quality, than those presented by Kush, and the 
appliers of his system. To the elements of ges- 
ture described by Austin, others have been 
added. 

In regard to nomenclature, the terms designat- 
ing the distinctions in voice and gesture, in the 
Philosophy of the Human Voice, and the Chiro- 
nomia, have, with few exceptions, been em- 
ployed. "Whatever part of the general nomen- 
clature of elocution was adapted to the author's 
purpose, has been introduced ; occasionally, how- 
ever, with slight variation of import. The par- 
ticular modifications of voice and gesture first 
elucidated in this treatise, are designated by 
terms analogous to those employed in designating 
others. The rule of composition, that it is better 
to employ a word in present use, in a modified 
but definite sense, than to coin a new one, has 
been complied with, as far as practicable; few 
new terms, therefore, meet the eye of the reader. 

Elementary details pertain to elementary 
works : on this subject, the student can derive 
much information from a discriminating perusal 



PREFACE. V 

of Caldwell's Manual of Elocution, Barber's Ab- 
stract of Austin's Chironomia, Murdoch and Rus- 
sell's Orthophony, Barber's Grammar of Elocu- 
tion, &c. A subject which is new, must appear 
abstruse. The works referred to, prepare the 
mind of the student for the comprehension of the 
following pages. The author of Hudibras ob- 
serves, with reference to the productions of 
writers on rhetoric, — 

For all a rhetorician's rules, 

Teach nothing but to name his tools; — 

writers on elocution have rendered themselves 
liable to a similar censure, but they have amply 
treated of a most useful part of the science. 

Apart from the main design and the element- 
ary additions, the present work is distinguished 
from others by the elucidation of the discrimina- 
tive properties of the various styles of delivery, 
by its analytic exposition of the purpose of punc- 
tuation and emphasis, and by the fulness and 
character of the notation of the voice ; — that of 
gesture is distinguished from Austin's mainly by 
the addition of a few literal signs. 

It has been truly remarked, that " oratory is 
unknown in America." Great Britain might 



VI PR.EFACE. 

have been comprehended in this observation, 
and, even on the continent of Europe, oratory is 
in a very imperfect state. Perhaps as little is 
known of dramatic expression as of oratory. 

It is not noio necessary to enforce upon the 
mind the importance of a systematic cultivation 
of voice and gesture, by referring to the examples 
of Demosthenes and Cicero, iEschines and Sheri- 
dan, and others. No evidence is needed for those 
capable of judging; to those who are not, the 
reference would not bring conviction. Ignorance 
and incapacity of comprehension object to the 
placing of delivery upon a scientific basis ; and 
objectors endeavor to dignify their folly, by styl- 
ing themselves " pupils of Nature." But, though 
Nature furnishes the appliances, man is the ap- 
plier ; and those only are the pupils of Nature, 
who, through an analysis of her process, are en- 
abled to conform to her systematic operations. To 
sustain their position, the " pupils of Nature" are 
ever presenting the authority of a name, and re- 
peating, among others, with triumph, the senti- 
ment of Goethe — 

Reason and honest feeling want no arts 
Of utterance, ask no toil of elocution; 



PREFACE. Vll 

though "reason" and "honest feeling" are daily 
displaying their incompetency. None of these 
consolations of folly are afforded by the subse- 
quent pages; yet no mechanical formality ob- 
structs the execution of individual conception; 
for, though the mind is subjected to the guidance 
of principles, to prevent the vagaries of ignorance 
and caprice, the judgment is left free. The 
science of elocution is as far from puerile direc- 
tions for the delivery of a particular mode of 
phraseology, or the delineation of a particular 
passion, as from vague generalities. 

In pursuance of his subject, the author has not 
presumed to criticise the eminent of the pulpit, 
the forum, the senate, and the stage ; nor to draw 
a distinction which might appear invidious, — 

Each — for madness rules the hour — 
"Would prove his own expressive power; 

yet three examples of a knowledge of a higher 
language than that of words, are before his mind. 
One has been compelled to retire from the Senate- 
hall of his country ; another, enfeebled by sick- 
ness, exhibits in the pulpit a shadowed brilliancy; 



Vlll PREFACE. 

the third remains on the stage, a mental and 
physical wreck.* 



b^? 



The prominence which is assigned to dramatic 
expression arises from its comprehensive and fun- 
damental character; but the reader must not 
confound dramatic expression with theatrical 
declamation. 

With these prefatory remarks, this Analysis is 
submitted to the public. 

* Since this was written, death has removed the last of the 
distinguished persons referred to, from both the mimic and the 
actual world. 

Philadelphia, Jan. 1, 1853. 



CONTENTS. 



Introduction 25 

PART FIKST. 

PRINCIPLES OF EXPRESSION. — VOICE. 

CHAPTER I. 
General Principles of Expression 59 

CHAPTER II. 

Relations and Elements of the Voice 64 

Sec. I. Divisions of the Voice — Elementary and Expressive 64 
II. Combination of Vocal Elements , . 65 

III. Pitch 66 

IV. Volume 78 

V. Quantity 83 

VI. Quality 87 

CHAPTER III. 

Relation of the Alphabetic Elements to Expression 99 

(ix) 



X CONTENTS. 

CHAPTER IV. 

Effect of the Diversity of Structure in the English Language 

upon the Character of Vocal Expression 113 

CHAPTER V. 

Connection between the Import of Language and Expression . . 118 

CHAPTER VI. 
Distinction between Dramatic and Oratorical Elocution 120 

CHAPTER VII. 
Emphasis 123 

CHAPTER VIII. 
Punctuation 133 

CHAPTER IX. 

Application of Principles 154 

Sec. I. Explanatory Observations 154 

II. Additional Forms of the Concrete 162 

III. Synopsis and Explanation of Notation 164 

IV. Exemplification 167 

Fundamental Forms of Communication 167 

Characteristic Expression 169 

Significative " 182 

Symbolical " 182 

Imitative " 183 

Adaptation of the Oral Properties of the Lan- 
guage to Expression 185 





CONTENTS. 


Dramatic Expression — Complete 


u 


(( 


— Index 


Oratorical 


(C 


— Complete 


u 


u 


— Index 


Didactic 


u 


— Complete 


Poetic 


(( 


u 


a 


u 


— Index 



XI 

189 
195 
203 
205 
208 
210 
212 



PART SECOND. 

GESTURE. 

CHAPTER I. 
The Nature and Purpose of Gesture 221 

CHAPTER II. 
Diversities of Gesture 232 

CHAPTER III. 
Motion 237 

CHAPTER IV. 
Position and Attitude 245 

CHAPTER V. 
Elements of Gesture 247 

CHAPTER VI. 

Application of Elements 263 

Sec. I. Explanation of Notation 263 

II. Synopsis of Literal and Numeral Signs 265 



Xll CONTENTS. 

III. The Execution of Gesture 269 

IV. Examination of Austin's Illustrations 273 

V. Exemplification 279 

Fundamental Distinctions in Gesture 279 

Soliloquial Style ' 280 

Colloquial " 286 

Oratorical " 288 

Relational " 291 

Personative Action 293 

Dramatic Expression 296 

Oratorical " 305 

Didactic " 307 

Poetic " 308 

Additional Examples 310 

Concluding Remarks 311 



INTRODUCTION. 



Dkamatic Expression is the natural language of 
man. It originates in those attributes of his being 
which limit the fundamental conceptions of his mind to 
sensible or corporeal ideas; as even the ideas denomi- 
nated moral and intellectual, can be signified only by 
terms primarily representing the sensible or corporeal. 

The metaphors and similes which abound in all lan- 
guages in their primitive state, arise from the same 
source ; as the object of these figures of speech, is to 
endow intellectual ideas, in some degree, with sensible 
qualities, and to paint, by speech, the operations of the 
mind. 

It is the presentation of images to the senses, instead 
of suggestions to the understanding, that constitutes the 
essential difference, between that which is represented 
and that which is narrated. 

In the embodiment of thought by dramatic or orato- 
rical delineation, the mind traces the image in the ex- 
3 (25) 



26 INTRODUCTION. 

pression, by the same principle of association as that, 
through which it perceives, or perhaps institutes a re- 
semblance, between the different objects respectively 
denoted by the literal and the figurative acceptation of 
a metaphor. 

The truthfulness of the delineation depends upon its 
conformity with those modes of expression which nature 
first prompted man to employ in the communication of 
his will ; and which even now occur, though modified 
and circumscribed by articulation, in those modern na- 
tions where lively sensibility causes conversation to break 
through the restraints imposed by articulate language. 

The natural language breaks forth in the efforts at 
communication which are made by persons speaking dif- 
ferent tongues, and it is universally associated with the 
articulate, when the vividness of imagination, and the 
comprehensiveness of conception, render the thought too 
pregnant with meaning, to be communicated by mere 
words. 

Amongst the ancients, speaking was strikingly dra- 
matic : hence, in the records of ancient manners, speak- 
ing by action is frequently described. 

In the earlier stages of language, speech appears to 
have been formed, through efforts to imitate by the voice 
those sounds, motions, qualities, and objects, which it 
was necessary to designate. In the present state of 
language, the resemblance between the word and the 
thing is almost lost ; yet the imagination, when excited, 



INTRODUCTION. 27 

endeavors to restore, through vocal expression, the full 
coloring of the vocal image. 

The naturalness of the signification of the elements 
of expression is rendered evident, by the mind's imme- 
diate perception of the different meanings which can be 
given to a single sentence through the varied application 
of these elements, which meanings have never been in- 
stituted by convention, nor determined by rule. 

The adequateness of significant utterance, unaccom- 
panied with gesture, to the purpose of expression, is 
rendered evident by the remarkable instance — the pro- 
nunciation of the Chinese language ; in which the diffe- 
rent imports of each word are denoted by changes of 
the same syllabic sound. As the articulation remains 
the same, through all the varied volume, quantity, and 
pitch, it is manifest, that the meaning is associated with 
the expression, and not with the articulation. The 
utterance of the imperative mood of the verb, presents 
a similar example of significant pronunciation in the 
English language. 

Inarticulate utterance is rarely employed in the com- 
mnnication of ideas ; — its general use being for the ex- 
pression of great mental excitement, physical debility 
and suffering. No art has ever been instituted for its 
isolated performance. 

But it is the power of gesture, to delineate the idea, 
portray the mind, express the passion, follow the flights 
of fancy, present to the eye the forms which " imagina- 



28 INTRODUCTION. 

tion bodies forth," that constitutes the highest excellence 
of expression. It is in this, in which it most resembles 
its sister arts — sculpture and painting. Gesture is like 
the statue endued with life, or the figure moving on the 
canvass. 

The purpose of gesture was well understood by the 
ancient actors and orators, as the powerful effects which 
they were able to produce through its skilful execution, 
demonstrated. 

The triumphs of the pantomimists and the wonders 
of their art, seem to justify the admiration of Seneca 
and Lucian, and to account for its engrossment of the 
Roman stage in the reigns of Augustus and Tiberius. 

Man is an actor by nature ; not merely as regards the 
expression of his own sentiments, but as regards the 
ability to enter into the thoughts of another and to por- 
tray them ; and in reference to his capacity to represent 
the characteristics and deportment of others. The ten- 
dency of man to imitation in the last respect, is often 
manifested in the sports of children. 

In the personation of character, the philosophic actor 
does not confine himself to portraitures of mere idiosyn- 
cracies or of national manners. He makes his concep- 
tion of character as comprehensive as possible, by view- 
ing every thought, emotion, and action, as a manifesta- 
tion of some quality of the mind. He renders the 
illustration of every sentence conformable to the general 
conception, and thus gives characteristicalness to every 



INTRODUCTION. 29 

expression. This conformity of every part to the whole, 
gives unity to the entire delineation, individuality to the 
character, enlarges the sphere of illustration, and pre- 
vents partial development in characterization. 

The performance of the histrionic art in different 
ages and nations, has exhibited many divergent and 
apparently antagonistic styles ; but through all the 
various forms that it has presented, there runs an in- 
trinsic resemblance, which shows them to be radiations 
from one centre. 

The due consideration of the various styles, and the 
gradations of those styles, furnishes the student with a 
knowledge of the extent and resources of the art. He 
finds not only the extremes of every possible diversity 
of style, but almost every intervening degree between 
the most remote extremes : from the most boisterous 
cries and wild and vehement action, to monotonous and 
inanimate affectation ; from pompous declamation and 
measured gestures, to colloquial familiarity of speech 
and action ; from solemity of utterance and grandeur of 
action, to ludicrous tones and antic gesticulation ; from 
rythmical but unmeaning gestures, to the minute imita- 
tion of humorous mimetic action. 

The art at the present day, has been almost stripped 
of its vital energies by the introduction of chilling and 
insignificant mannerisms. To please the ear and the 
eye, instead of informing the judgment, awakening emo- 
tion, and stimulating the fancy, seems to be the present 
3* 



30 INTRODUCTION. 

"purpose of playing." True dramatic elocution makes 
"the sound an echo to the sense." The actor should be 
something more than the " sounding brass and tinkling 
cymbal." Dramatic gesture is the visible manifestation 
of mind, the image of the unseen ; and it should be em- 
ployed for higher purposes, than merely to give grace 
and force to delivery. 

Although the principal part of the action of the stage, 
when it is not ludicrous, is now, generally, more orato- 
rical than dramatic, there is nothing oratorical in attitu- 
dinization : the attitudes being too varied and methodical 
to be adapted to oratory. 

Attitudinization seems to be founded upon certain arbi- 
trary principles, which have no foundation in the nature 
of expression, but originate in the design to endow the 
repose of action with ideal beauty, by investing it with 
the graces of sculpture. But statesque attitudes, how- 
ever elegant or striking, have not the expressiveness 
which belongs to the natural positions of the body, and 
are, therefore, less dramatic. The gesture of the stage 
requires every natural beauty, but does not demand ideal 
grace. 

Prominent among the causes which have narrowed the 
sphere of dramatic representation, is the superficial 
criticism of the day. The critics, by limiting their 
praises and animadversions to the manner of the per- 
former, seem to consider acting as nothing more than a 
mode of delivery. Nature, with them, means custom ; 



INTRODUCTION. 31 

" to hold the mirror up to nature," denotes conformity to 
the conventionalisms of society ; individuality of cha- 
racter signifies a peculiar utterance and demeanor : their 
remarks are replete with epithets approving or condemn- 
ing the performance, but are neither analytical nor de- 
scriptive, and they have little reference to the truth and 
adequateness of the delineation. 

A truly profound criticism would develop the partial 
or complete character of the expression, evince a just 
discrimination between the true and the fanciful, the 
significant and the meaningless, in voice and gesture, 
and a clear perception of the form and coloring of the 
actor's imagery. 

The treatises of the ancient rhetoricians on " action," 
and the descriptions of the representations of the actors, 
and the delivery of the orators, of ancient Greece and 
Rome, impart to us in general, and, therefore, indefinite 
terms, but few and inadequate ideas of what constituted 
the excellence of the acting and public speaking of the 
ancients, particularly as regards the vocal execution. 
The subject of gesture is treated by Quintilian and 
others with more explicitness and in greater detail. 

The ancients displayed a clear perception of the ex- 
pressiveness of the application of the various qualities 
and of gradations in the volume, pitch, and quantity of the 
voice, and ascertained its concrete movement from gra- 
vity to acuteness, and from acuteness to gravity. They 
adapted, in the structure of their languages, the fixed 



32 INTRODUCTION. 

quantity of the syllables to the sentiment, and demanded 
a strict observance of quantity by the speaker. They 
designated various qualities of the voice, and gave 
general directions for their application. But they made 
only a meagre and defective analysis of the pitch of the 
concrete movement, and attempted no elucidation of the 
relations of volume and quantity to that movement. 
Their rules of elocution directed the general manner of 
delivery, and designated those characteristics of vocal 
sound which are always evident to the ear; but they 
w r ere not based upon the elementary knowledge neces- 
sary to render them definite and practical. Yet, in de- 
spite of the deficiency in scientific principles, the elabo- 
rate vocal training, and assiduous practice in pitch, force, 
melody, and quality, in ancient rhetorical education, 
were productive of great practical skill. Though the 
ancients could not definitely describe the elements of 
vocal sound in speech, they knew the value of elemen- 
tary practice. They had not learned the principle — 
that all that is necessary to a proper and effective deli- 
very is a full comprehension and feeling of what is 
spoken, and to be in earnest ; — which is proclaimed by 
some modern elocutionists. The believers in this prin- 
ciple commence and end their rhetorical studies with 
recitations, vainly imagining that success in an art can 
be attained without a knowledge of the science upon 
which it is founded. 

There is much uncertainty in regard to the nature and 



INTRODUCTION. 83 

purpose of the acute, the grave, and the circumflex ac- 
cent of the ancients. It is generally supposed that they 
refer to concrete pitch ; but Sheridan observes, that, 
amongst the ancients, "we know that accents were 
marked by certain inflexions of the voice like musical 
notes ; and the grammarians, to this day, with great for- 
mality inform their pupils that the acute accent is the 
raising the voice on certain syllables, the grave, a de- 
pression of it, and the circumflex, a raising and depres- 
sion both in one and the same syllable. This jargon 
they constantly preserve, though they have no sort of 
ideas annexed to these words;" and he adds, the gram- 
marians found it "impossible to come at the least know- 
ledge of the accents as used among the ancients." 

Though Sheridan denominates the definitions of the 
accents given by the grammarians a "jargon," and says 
that "they have no sort of ideas annexed to these 
words," yet the reader may be able to annex ideas to 
"these words," which are, perhaps, far more definite, 
than any which he can associate with the phrase, " in- 
flexions of the voice," as used by this writer ; and to 
deem the accents changes from gravity to acuteness, 
from acuteness to gravity, &c, certainly involves the 
subject in less obscurity, than to compare them to mu- 
sical notes. 

Walker, by applying the generally received explana- 
tions of these accents to the English language, in the 
rising and the falling inflection and the falling circumflex, 



34 INTRODUCTION. 

and by observing the upward and downward concrete 
movement, furthered the knowledge of elocution. But 
there is a vagueness and erroneousness in Walker's illus- 
trations of these modes of intonation, which arise from 
his treating of them as if they belonged to words in- 
stead of syllables, and as if they were not indispensable 
to speech : as in the assertions , — " The different slides 
of the voice are named from the direction they take at 
the conclusion of a ivord;" and — "the plaintive tone, so 
essential to the delivery of elegiac composition, greatly 
diminishes the slides, and reduces them almost to mono- 
tones ; nay, a perfect monotone, without any inflec- 
tion at all, is sometimes very judiciously introduced into 
verse." When the impossibility of executing one unin- 
terrupted concrete on two or more successive syllables, 
and of uttering speech without either the slide or circum- 
flex, is considered, an idea may be formed of the little 
which was known of the nature of vocal sound in speech 
in the time of Walker ; and those who reject Dr. Rush's 
system of the intonation of speech, and believe, with 
Rousseau, that " the inflections of the speaking voice 
are not bounded by musical intervals," and, that "they 
are uncontrolled and impossible to be determined," can- 
not, if they make the slightest observation of the ex- 
pressive effects of different degrees of pitch, admit that 
" the rising or falling of the slide, in a greater or less 
degree, does not essentially affect the sense and harmony 
of a sentence." 



INTRODUCTION. 35 

Though these and other errors and contradictions, 
render the works of Walker defective, his writings, 
nevertheless, contain much information on the nature 
of vocal expression. His Introduction to the Theory 
of Emphasis, his Theory of Emphatic Inflection, and 
his Practical System of Emphasis, which are found in 
his Elements of Elocution, constitute, whatever may be 
their defects, the best treatise on emphasis in the lan- 
guage. He never fell into the error of many of his pre- 
decessors and successors, of confounding emphasis with 
impassioned or forcible expression. His principles and 
rules of rhetorical punctuation, in the same work, are 
of great practical importance, and even those parts of 
the work which relate to vocal acoustics, develop many 
philosophic truths in relation to speech. 

Sheridan, in his Lectures on Elocution, shows the su- 
periority of the spoken to the written language for the 
purpose of communication, and the impossibility of 
written language communicating all that passes in the 
mind. His view of language in the abstract, is correct 
and philosophical. He points out many of those defects 
in articulation and pronunciation which deform delivery, 
furnishes many suggestions for the proper employment 
of emphasis and pauses, shows the significance and ob- 
jects of the "tones" of the voice, and gives a compa- 
ratively excellent exposition of the nature of English 
accent ; though his opinion concerning the " seat of the 
accent," is as erroneous as Walker's conclusion in refe- 



86 INTRODUCTION. 

rence to a determinate relative pitch of the accented 
syllable. These eminent elocutionists have been thus 
particularly noticed, because they may be deemed repre- 
sentatives of two distinct classes of writers ; neither of 
which adopted any systematic notation. Sheridan's 
writings partake of the character of an essay. Walker's 
must be ranked with the first efforts towards establishing 
a system of elocution based upon an analysis of the 
voice : but the symbols employed by Walker and his fol- 
lowers, are limited to the signs of the inflections and the 
circumflexes. 

Steele was the first that applied to speech a notation 
analogous to that of music. His rhythmical notation is 
a valuable aid in correcting habits of drawling and jerk- 
ing out syllables. It gives the practitioner a command 
of quantity, causes an observance of the accented syl- 
lables, promotes that regularity in variety which is pro- 
ductive of melodiousness, and makes the time of the 
pauses proportionate to that of the words. But the 
making of the time of the accentual sections equal, often 
causes an undue limitation or extension of the quantities 
of syllables, that prevents just expression ; which may 
sometimes demand a quantity on an accented syllable, 
which is greater than the aggregate quantity of a mea- 
sure consisting of the greatest number of syllables. The 
introduction of pauses to occupy part of the time of the 
imperfect measures, may sometimes obviate this defect : 
but this makes punctuation subservient to the melody 



INTRODUCTION. 37 

instead of the sense, as the pauses thus introduced, 
often cause divisions in the language which the sense 
does not require. 

These objections apply to the equalizing of the time 
of the measures ; but the employment of symbols to 
designate various quantities, both positive and relative, 
would furnish an effective guide to expression.* 

It would be idle to say, that the terms, tone and modula- 
tion, with the various adjectives and prepositional phrases 
connected with them, in criticisms on acting and elocu- 
tionary treatises, convey no meaning to the reader ; but, 
they can refer, in a general manner only, to the instinc- 
tive vocal efforts in the manifestation of sentiment, and 
not to those specific modes of speech which constitute 
the distinguishing characteristics of individual expres- 
sion. Almost all writers, in using these terms and their 
adjuncts, might say with Aaron Hill in his instructions 
to a young actress, " I wish I knew how to explain what 
I mean." 

The foregoing remarks in relation to the rhetorical 
knowledge of the ancients, to the Greek accents, to the 
works of Walker, Sheridan, and Steele, and to the am- 

* " The voice of a singer," says Colley Cibber, " is not more strictly- 
tied to time and tune, than that of an actor in theatrical elocution : 
the least syllable too long, or too slightly dwelt upon in a period, 
depreciates it to nothing, which very syllable, if rightly touched, 
shall, like the heightening stroke of light from a master's pencil, 
give life and spirit to the whole." 
4 



88 INTRODUCTION. 

biguity of elocutionary nomenclature, may impart an 
idea of the state of the science prior to the publication 
of Dr. Rush's Philosophy of the Human Voice. And 
it may be appropriate to add, in connection with the 
subject, that while the elocutionists disregarded elemen- 
tary principles, the nature, divisions, and organic causes 
of the alphabetic elements, were explained and classified 
by the grammarians. 

As the various forms and phases presented in nature, 
arise from the diversified commixture of few distinctive 
elements, so the multiplicity of sounds emitted by the 
vocal organs, is derived from the combination of various 
species of the four* generic divisions. Dr. Rush, by 
treating each element abstractly, has given a definite 
idea of its attributes. He has given accuracy and pre- 
cision of import to terms denoting various combinations 
and gradations of these elements, has shown the relations 

* If the reader should deem this number too limited, he can test 
the truth, by endeavoring to execute different sounds having the same 
quantity, quality, volume, concrete and radical pitch. If he should 
ever have been startled by such assertions as that of the editor of 
the Medical Times, that there are in the human voice 17,592,186,- 
044,415 different sounds, "independent of different degrees of in- 
tensity /" he can ascertain the real extent of vocal diversity, " inde- 
pendent of different degrees of intensity," by observing the variation 
of vocal sound produced in the same quantity, amount of volume, 
and degree of pitch, by changes of progression in volume, and of 
direction in concrete movement, and by all diversities of quality that 
do not arise from difference, in intensity, of the same characteristics. 



INTRODUCTION. 39 

of the alphabetic elements to quantity, and to the con- 
crete movement, and the application of various degrees 
of volume to different parts of that movement, measured 
the extent of pitch by the diatonic scale, or, rather, by 
a scale consisting of whole tones, and by the chromatic 
scale, and shown the effects of quantity in modifications 
of the concrete. 

Against the fundamental principles of Dr. Rush's 
analysis, no reasonable objection can be made ; though 
the following extract from the marginal note appended 
to the section on the Yocal Signs of the Passions, would, 
itself, be deemed a confutation of many principles of the 
work, if it were not duly considered that no constituent 
can be executed alone, and, that the union of the vocal 
elements is essentially different in the structure of speech, 
from their union in the structure of song : — " The rising 
and falling concretes of the third, fifth, and octave, when 
not set to words which express the sentiments of these 
intervals, are constantly heard in song without producing 
the audible characteristics of interrogation, positiveness, 
or surprise. The various forms of stress, too, which 
have their proper expression in syllabic utterance, seem 
to be almost without meaning in the inarticulate move- 
ments of song." 

Though a judicious investigator is compelled to dissent 
from some parts that relate to special applications of the 
forms of stress, and modes of pitch, quality and quan- 
tity, he would acknowledge that it furnishes the best basis 



40 INTRODUCTION. 

that has yet been presented, for a systematic synthesis ; 
and, though freely admitting the general accuracy of 
the work, and of the audible perceptions of its author, 
he would yet think, that if the median, the vanishing, 
the thorough stress, and the loud concrete, require 
long quantity for their proper execution, "that it is" 
not " difficult to give stress without running into quick- 
ness of time," or, in other words, that augmentation of 
volume does not tend to quicken the movement ; — and 
— if the concrete rise in vehement interrogation, some- 
times passes far above the limit of the natural scale, that 
"the octave" cannot be "the widest interval of the 
speaking scale." And he may find the rule* for the 
classification of immutable syllables as unintelligible, 
and may deem the remark, — - that all " emphatic words 
carry with them something of the admirable," — as fan- 
ciful, as anything that can be found in works of preceding 
writers. 

Dr. Rush, by limiting the instinctive means of expres- 
sion to some states of the mind, seems, in common with 
others, to deem that the full manifestation of the vocally 
expressive powers of man has been made ; but their 
compass is unknown, as the artificial or conventional 
modes of communication have restricted the scope of 

* " To the First class belong many of those syllables terminated by 
an abrupt element ; and containing- a tonic, or an additional subtonic, 
or the further addition of an atonic, such as at, ap, ek, hap-\ess, pit- 
fall, ac-cep-tance." 



INTRODUCTION. 41 

expression, and prevented the development of these 
powers. If it were true, that there are " no natural ex- 
pressions, of any definite character, for hope, content- 
ment, and gratitude," these sentiments would be incom- 
municable with those persons who have no conventional 
signs to denote them. This, the history of man in his 
most savage state, and the history of the progress of 
language, refute. 

In reference to the admissible universality of the 
"verbal" modes of expression, Dr. Rush observes, that 
" one can tell another, that he is astonished, in the most 
simple style of intonation, and thus convey the know- 
ledge of the existence of that sentiment, as well as he 
can by the most striking use of the downward octave, 
which is its natural sign." It is a sufficient evidence of the 
inaccuracy of this assertion, to observe, that, if a person 
should say "I am astonished" with the characteristic 
utterance of a simple declaration, he would find the 
truth of what he asserted, discredited ; and his .character 
for veracity could be admitted, only at the expense of 
his understanding, by his hearer inferring that he did 
not understand the meaning of the word — astonished.* 

* It is related of Demosthenes, that, on a certain occasion, a client 
came to him, and gave an account of a number of blows which he 
had received from an antagonist, but in so unconcerned and indiffe- 
rent a manner, that Demosthenes exclaimed, " Surely, my good 
friend, thou canst not have received the injuries of which thou 
speakest." " How ?" cried aloud the client, with grief and astonish- 
4* 



42 INTRODUCTION. 

These few strictures have not been made in a captious 
spirit, nor with a desire to detract from the deserved re- 
putation of the Philosophy of the Human Voice, nor, 
above all, to dispute the acuteness of its author's ear : 
they embrace a few of those points which seem erro- 
neous, or contradictory, or, at least, ambiguous ; and 
were prompted by an earnest desire to promote further 
scrutiny into the operations of the voice. 

It is a subject of regret, that succeeding writers who 
have adopted the system of Rush, have fallen into the 
error of supposing that the work of investigation has 
been completed, and that nature has no new truths to 
offer to other laborers in the field of inquiry. But the 
most exalted and comprehensive mind can but take a 
partial survey of the vast compass of art, and it remained 
for other inquirers to discover modes of pitch and stress 
which had eluded observation ; to elucidate the reciprocal 
relations of volume and quantity, and those of volume 
and the ■ intervals of pitch ; to present a more compre- 
hensive analysis of the five* principal qualities, and extend 
the examination to other qualities ; to develop the instru- 
mentality of the intervals of the fourth, the sixth, and 
the seventh, in expression ; show the structure of those 
modes of speech which are employed in what is called 

ment, "Demosthenes! — have I suffered nothing V "Now," re- 
plied the orator, " I hear the voice of an injured man." 

* This number includes the guttural, although this quality is not 
classed by Dr. Rush with the others. 



INTRODUCTION. 43 

"imitative modulation," and also the structure of vocal 
anomalies ; give an exposition of that vocalism which is 
illustrative of mental and physical condition, and reveal 
the expressive agency of thought, as well as of emotion. 
The elocutionary treatises which are conformable to 
the principles of the Philosophy of the Human Voice, 
are mainly expositions of that system, and refer chiefly 
to practical applications of its principles. They possess 
very different degrees of merit. Some of them may be 
deemed more perspicuous in style than the work of Rush, 
and, in a few details, may have improved the system ; 
but they rarely dissent from the principles of their ori- 
ginal. They generally admit the organic causes of pitch 
and quality assigned by physiologists, which Dr. Rush 
has rejected ; and they have ascribed somewhat different 
structures to some of the modes of stress, characterized 
some of Rush's diphthongal elements as monothongs, at- 
tributed different constituents to other diphthongs, and 
extended the judicious design of representing the expres- 
sive elements by visible types, beyond the symbols of the 
simple slides ; though, in some instances, the design is 
more judicious than the execution, as some of the figures 
are not sufficiently conformable to the written descrip- 
tions, to render them symbolical, and sometimes mislead 
the mind, instead of assisting the comprehension. In 
most of the works, they are presented in a horizontal 
position, instead of the positions of the grave and the 
acute accent : the symbols of the explosive radical, and 



44 INTRODUCTION. 

the explosive vanishing stress, delineate respectively the 
equable diminution and equable increase of volume ; one 
type of the thorough stress represents an amount of 
volume at the middle of the stress which is greater than 
the amount at any other part ; another, represents the 
least amount at the middle, and the diagrams of the 
tremor cannot convey an idea of it. 

It is not within the province of this prolegomena, nor 
the purpose of the following treatise, to enumerate the 
various discrepancies which occur in the exegeses alluded 
to ; — such as the assigning of a similar combination of 
expressive elements to dissimilar emotions, the applying 
of the elements contrary to the qualities ascribed to 
them in the works themselves, the ascribing of discordant 
attributes to some of the modes of stress, &c. : — a few 
examples may serve the purpose of evidence. — In one 
treatise, the same vocal symbols are assigned to irreso- 
lution and apathy, to doubt and tranquillity ; in another, 
the vanishing is described as an explosive stress, and 
applied in the expression of gloom and melancholy ; in 
a third, the thorough stress is explained as a " union of 
the radical, median and vanishing stresses on the same syl- 
lable." Some of the deviations from the principles of 
Rush, seem to be the result of miscomprehension : for 
example, to characterize ou in ouv as a compound of o in 
done and a short quantity of oo in ooze, to denominate 
u in tube a triphthong, and to assert that the vanish of 
the radical stress u suddenly falls into silence." 



INTRODUCTION. 45 

The preceding general and summary allusion to the 
expositors of Rush, answers the purpose of this intro- 
duction. These writers, in their partial analyses, pre- 
sent only prominent characteristics of general modes of 
delivery thus leaving undetermined the special modifi- 
cations upon which the import of expression mainly de- 
pends; and colloquial elocution, with them, is utterly 
devoid of expressive meaning. 

Having by this retrospect of the progress of the 
science of elocution, presented some of the most pro- 
minent stages of its advancement, it is now necessary 
to turn from the consideration of that part of expression 
which is audible, to that which is visible. 



The demands of the eye are as various and extensive 
in acting and oratory, as in sculpture and painting. 
A want of a full consideration of their importance, 
has caused the failure of many actors, speakers, and 
dramatists. " Shakspeare," says Davies, "was the first 
dramatist who perfectly understood the force of theatrical 
effect. He knew that the eye must be fed as well as the 
ear and the understanding : many of his plays might be 
represented in pantomime."* 

* While quoting this passage as an evidence of the necessity of 
attending to the requirements of the eye, it may be proper to remark, 
that if Davies had stated that the understanding must be fed through 
the eye, it would have been more consonant with the character of 
dramatic representation. 



46 INTRODUCTION. 

The principles of gesture are involved in all the ob- 
scurity that necessarily attends limited and defective 
perceptions of a subject. Erroneous principles have led 
to erroneous practices, by those who have studied works 
on the art. By sedulously endeavoring to strip gesture 
of all meaning, and to make it a merely graceful or for- 
cible accompaniment of vocal delivery, writers on the 
subject have fostered the opinion, that it is a mere 
ornamental appendage, whose total omission is allow- 
able. And the popular conclusion which has been drawn 
from the premises furnished by the writers themselves, 
is doubtlessly just : for if gesture is useless, the least 
that can be employed, is the best. 

Through these means, the promptings of nature have 
been overruled by the forms of society, and visible ex- 
pression has lost its essential attributes : the artificial 
having superseded the natural. But as man wanders from 
the truths of nature into the devious ways of error, the 
multiform and incomprehensible objects which are ever 
present to the mind, produce the innumerable vagaries 
of fancy : the complexity of error is substituted for the 
simplicity of truth, and the very faults which the mind 
desires to avoid, are the inevitable results of the errors 
which it adopts. Thus rhetoricians, by making rules 
that render all gesture redundant, have promoted the 
very fault which they condemn. 

The natural impulses to gesture, misdirected by rules 
and by the usages of society, occasion the greatest pro- 



INTRODUCTION. 47 

fusion of unmeaning action ; which seems to emanate 
from excitement merely, as it is neither guided by the 
judgment, nor prompted by the imagination. To avoid 
this profusion, many public speakers and performers 
upon the stage, have fallen into the opposite extreme, 
and have become speaking statues.* 

* The following comment, from an English journal, on the neglect 
of gesture by dramatic performers, exhibits a just view of this con- 
stituent of expression, and furnishes a brief but lucid explanation 
of the most prominent cause of the deterioration of dramatic repre- 
sentation. 

These remarks present a striking contrast to the superficial stric- 
tures of almost the whole of the present generation of critics. — 

"The serious pantomime, Hans of Iceland, did not realize the ex- 
pectations which had been excited. The genius of this species of 
the drama has expired, that genius which, at one time, sparkled so 
resplendently on Covent Garden boards. We can remember when 
Three-Fingered Jack, with Charles Kemble for the sable Hero, — 
Perouse, with Harry Johnstone for the Navigator, transfixed the 
house in mute attention, eloquent in their dumbness. Those were 
the days of the drama's glory, when the author's thoughts were 
breathed in the actor's action. We have no successors to Charles 
Kemble, to Belzoni Bologna, Grimaldi Farley, Harry Johnstone, Miss 
De Camp, &c, &c. Fanny Kelly is the last that is left to us of 
that inimitable troupe ! It is true, we have T. P. Cooke, and O. 
Smith, — but they have neglected themselves in affecting speaking 
parts, and have studied to forget the eloquence of action. The sub- 
stitution of gesture for speech, calls for powers of no ordinary kind. 
Nature must have done much ere art can essay at all. 

"Kean, the best actor of our time, was a consummate pantomi- 
mist ; and those who remember his Timon and Sir Giles Overreach, 



48 INTRODUCTION. 

The opinion, that attention to gesture, or, rather, the 
execution of complete gesticulatory expression, produces 
multiplicity of bodily movements, has caused prejudices 
against the systematic teaching of gesture ; which is 
condemned by those who know nothing of the art. 
Sir Richard Steele says, that "an actor should not 
study gesture;" Better ton, that it ought to be his 
"chief aim and application." The one is the observa- 
tion of a critic, the other, of a great actor. 

Most writers deem that the action of the ancients 
greatly exceeded that of the moderns in exuberance and 

must feel how he brought this power to his aid in those matchless 
assumptions. But the performers of the present day, are educated 
in the rhetorical school, and, with the march of education, has pro- 
gressed the theatrical impression that words are things, — that it is 
better to say, than to represent; — thus that sublime art, sublime in 
its perfections, and highly connected with statuary and painting, has 
fallen into disuse, and the great charm of the drama has fallen by its 
side. Let the young and rising actor know, that John Kemble in 
his pantomime in the oration of Coriolanus, was great as in the de- 
livery of his author's text, — that one of the greatest charms of a 
Siddons, in her Lady Macbeth, and Hermione in the Winter's Tale, 
was the richness and fidelity of her pantomimic action, — that Mrs. 
Powell's Evelina, in the Castle Spectre, was the redeeming quality 
of that heavy drama, — and, that Fanny Kelly's pantomime in the 
Sergeant's Wife, is a conception of unequalled beauty, and lends a 
force to the author which his text could not supply. These are ex- 
cellent exemplars of what genius can effect without the aid of 
speech, and should be studied, deeply studied, by the actor who 
would rise to fame." 



INTRODUCTION. 49 

vehemence. This, the restrictive influence of many of 
-the precepts of the anciei\t rhetoricians, demonstrates to 
be impossible. 

The contest between Cicero and Roscius, — whether 
a sentiment is susceptible of a greater variety of expres- 
sion by words or by gesture, furnishes an index to the 
character of ancient action ; and shows that it was not 
executed as if the speakers were wild with excitement, 
but that its significancy determined its employment. 

It is difficult to conceive how "Roscius" in action 
" would have seemed a madman to us," * though it may 
readily be believed, that the multitude of gyrations ex- 
ecuted by many popular declaimers, would have aston- 
ished a Roman. 

Beside those speakers who are immovable, and those 
who are vehement, there is a class who are considered 
graceful in their gestures, which are like those of " Par- 
son Dapper," f pretty and insignificant. 

"How would you have been affected had you seen 
Demosthenes speak," said iEschines, "for he who only 
hears him, loses much the better part of the oration." 
This is an evidence of the necessity of gesture, to ex- 
press the various shades of thought and peculiarities of 
conception which words cannot impart : but this can be 
affirmed of such action only as Dr. Atterbury's,f "which 
contained explanation as well as grace." No essential 
part of the discourses of all the "Parson Dappers" in 

* Blair. t Tatler, No. 66, 



50 INTRODUCTION. 

the world, would be lost, if they should be stripped of 
all the pretty action in their delivery. 

It may have occurred to the reader, in the course of 
these introductory observations, that the purpose of ex- 
pression is deemed higher and more extensive by the 
writer, than by others who have written on the same 
subject, or, rather, on collateral subjects. The limited 
development of the philosophy of expression which cha- 
racterizes works on elocution, rhetoric, acting, &c, has 
contributed to restrain those enlarged views of dramatic 
and oratorical delineation which are the result of a com- 
prehensive conception of abstract expression, and to 
cause the mind to view the contingencies and modifica- 
tions of convention as essentials. 

Some of those writers who uphold partial expression 
as the acme of the pursuits of the orator and the actor, 
limit the expressiveness of gesture to emotion. The 
knowledge which they thus display, resembles, in its 
comprehensiveness, the definition which is given of the 
voice in a rhetorical terminology; — viz. — The "voice 
is a kind of sound which influences the passions either 
by raising or allaying them" ! 

The writings of Quintilian, Betterton, Hill, Engel, 
Austin, with the almost innumerable references to the 
subject of gesture in elocutionary and rhetorical trea- 
tises, dramatic annals, biographies, and criticisms, afford 
a fund of observations, precepts and examples, which 
may be useful to the student in guarding him against 



INTRODUCTION. 51 

irregular action ; but, as he leaves theory for practice, 
he becomes conscious of a want of fundamental prin- 
ciples, to govern the selection of his gestures in the ever- 
changing current of thought and expression. The slight 
knowledge of these principles imparted even by those 
writers who have directly treated of them, renders the 
distinguishing of false from true gesture, by the aid of 
works on the subject, generally impossible. 

The third chapter of the eleventh book of Quintilian's 
Institutes, contains many precepts for regulating the 
execution of gesture. But some of them relate merely 
to the manner of action prescribed by the ancients : no 
reasons exist which can induce the application of these 
to modern action. Though Quintilian had a just concep- 
tion of the imports of various movements of the hands, 
head, &c, he seems to have considered the grace of ac- 
tion more important than the truth and force of it. 

Betterton, in his papers on the Duty of the Player, 
aimed to eradicate from the stage the habits of action 
which are found in society, and which have arisen 
through the perversion of natural gesture, and have be- 
come general through imitation. He strove to make the 
action of the stage consistent with character and con- 
ception, and he has shown the meanings of customary 
motions of different parts of the body. 

" Hill, in his Essay on the Art of Acting, has made 
a bold attempt at such a description of the passions as 
may enable an actor to adopt them mechanically, by show- 



52 INTKODUCTION. 

ing that all passions require either a braced or relaxed 
state of the sinews, and a peculiar cast of the eye. This 
system he has supported with much ingenuity ; but it were 
to be wished, he had lived to give his original idea the 
finishing he intended, and to have seen it combated by 
opposite opinions, that he might have removed several 
objections that lie against it, and render the truth of it 
doubtful."* 

Engel treats of the fundamental principles of gesture, 
more than any other writer, and he has considered the 
efficient and the final causes of habitual action. He was 
an attentive observer, but not a profound investigator, 
and he is not always fortunate in the execution of his 
purposes, as he is apt to generalize until he becomes ob- 
scure, and to particularize until he becomes trivial. 
Acute discrimination, however, occasionally marks his 
descriptions; and his exposition of "analogous" and of 
" expressive" gestures shows, in the main, a just appre- 
ciation of expressive action as distinguished from the 
literal and the meaningless. His views on the ancient 
pantomime are such as might be expected on a subject 
about which little or nothing can be known : his opinions 
have been deduced by squaring the pantomime to mo- 
dern ideas of gesture. The communicative power attained 
by Rich in his pantomimical performances, demonstrates 
that this department of visible expression is not re- 
stricted to the limited range assigned to it by Engel. 
Of Rich, Garrick has written — 

* Walker. 



INTRODUCTION. 53 

" He gave the pow'r of speech to every limb ; 
Tho' masked and mute, conveyed his quick intent, 
And told in frolic gestures all he meant." 

Austin's Chironomia is systematic and practical. The 
descriptions, illustrations, and classification, considered 
as means to promote effective and impressive execution, 
are admirably adapted to the end. But limited views 
of the purpose of gesture, have caused the author to 
deem " discrimination," force, variety, and grace, pri- 
mary and essential properties. To preserve unity, he 
has disregarded significancy ; and, through restricting 
the movements of the arms to points of his circles mainly, 
the practical operations of his system are attended with 
sameness-, or, at best, with but mechanical variety. 
Many instances of inconsistency, and of deviations from 
his own principles, occur : thus, by not observing the 
propriety of action, he frequently gives in his illustra- 
tions, gestures for which no " satisfactory reason " can 
be assigned ; these are, therefore, but " unmeaning flou- 
rishes." He has also departed from the truth of ex- 
pression, by making ideas which are primary in the mind, 
but secondary in the illustration, and by rendering ad- 
juncts as prominent as principals. 

To those who are conversant with the system of Austin, 
and think all gestures proper that do not offend the eye 
by their uncouthness, sameness, or awkwardness, these 
remarks may seem hypercritical ; but there is a propriety 
and impropriety in action, apart from grace, force, or 



54 INTRODUCTION. 

any other modification. There are synonymous gestures, 
as well as synonymous words ; but, though the sense of 
language is no more restricted to one set of gestures 
than to one set of words, yet, like words, the action em- 
ployed, must be such as the mind readily associates with 
the sense, and it must not be executed at random, nor 
in conformity to rules analogous to those which govern 
the movements of a dance. 

Let not the reader deem the various combinations and 
applications of the movements and positions of different 
parts of the body, inadequate to the required expression 
of the myriad shades of thought and passion, when a 
" few simple ideas are sufficient to employ the quickest 
thought and largest capacity, and to furnish the mate- 
rials of all that various knowledge, and more various 
fancies and opinions of all mankind." * 

Arbitrary rules, arising from the " illusions of opinion," 
produce the innumerable customs which appear for brief 
periods upon the stage of life. Though these furnish 
subjects for dramatic illustration, they cannot change 
the fundamental principles of expression by voice and 
gesture. Custom is but a fashion, and, like a fashion, 
passes away. The principles of an art which has its 
foundation in the nature, of man, must endure while man 
endures. The advancement of knowledge is but the ex- 
tension of comprehension over a larger area of the scope 
of nature, which contains the prototypes of all the truth- 

* Locke. 



INTRODUCTION. 55 

ful ideas that are formed in the human mind. One of 
Nature's revelations never overthrows another. The art 
which she first taught to man, goes hand in hand with 
all her succeeding teachings ; additional knowledge en- 
larges the field, but it can, no more than custom, alter 
the essential character of dramatic or oratorical deli- 
neation. 

The accord of voice and gesture with th« thoughts 
which gleam upon the mind, require the concentrated 
exertions of all the faculties of mind and body. " Within, 
the memory, the judgment, the fancy, and the passions, 
are all busy ; without, every muscle, every nerve, is ex- 
erted, not a feature, not a limb, but speaks." But it is 
mind, which gives value to all the efforts of the orator 
and the actor : tones that would ravish the ear like 
choicest music, action, whose grandeur would have added 
lustre to "the greatest actor of royalty," are "without 
form and void," unless they present images to the ima- 
gination of the observer. The proximity or remoteness 
of association, must be determined by the speaker's taste 
and judgment, regulated by his knowledge of the prin- 
ciples of his art. And, so long as he makes the beauty 
of expression subordinate to the truth of it, he may 
clothe his imagery with all the radiance that illumes the 
land of fancy ; for, by accuracy of delineation only, can 
he give distinctness to the dim shadows of the world of 
imagination, and wield the sceptre in the realms of 
passion. 



56 INTRODUCTION. 

In the almost unlimited variety of characters pre- 
sented on the stage, every peculiarity of voice and ges- 
ture may be required ; hence, those qualities of both 
which are, intrinsically, defects, become appropriate, and 
pleasing to the ear and eye, when adapted to character, 
and striking excellences in the performance of low 
comedy. Uncouthness of action is, in representation, 
the grace of eccentricity of character, and incongruity 
of expression is often appropriate to rustic ignorance 
and absurd pretension. 



PART I. 



PRINCIPLES OF EXPRESSION. 



YOICE. 



(57) 



ANALYSIS OF DRAMATIC 



AND 



ORATORICAL EXPRESSION 

CHAPTER I. 

GENERAL PRINCIPLES OF EXPRESSION. 

Man, in imparting his thoughts and intentions, neces- 
sarily employs those means of imparture which he deems 
most intelligible ; and, as after the object itself, its sem- 
blance conveys the clearest idea, he endeavors to pre- 
sent a similitude of the subject denoted : the degree of 
resemblance which the instruments of expression are 
capable of assuming, determines the extent of the com- 
munication. But, in facilitating the means of inter- 
course, representations of distinctive traits of objects, 
are substituted for resemblances to the objects them- 
selves ; thus symbols displace images, and, eventually, 
through variation in application, lose their analogical 
character, and become, in their general use, signs with 
merely conventional significancy. 

(59) 



60 PRINCIPLES OF EXPRESSION. 

The indication of character, conception, and the asso- 
ciation of ideas, by the varied management of voice and 
gesture, is necessarily based upon the principle, that 
such modifications represent corresponding modifications 
of sentiment. The expressive power of the elements of 
vocal and of gesticulatory delineation, is derived from 
association, analogy, and resemblance. As the customs, 
as well as the nature of man, may be subjects of illus- 
tration, the import of voice and gesture may occasionally 
result from conventional association. Those forms of 
expression which are naturally significant, embrace those 
modes of voice and action which are instinctively asso- 
ciated with emotion and the manifestation of intention. 
Their analogy, (if they have any,) to what they denote, 
appears to be slight ; it may, as Engel ingeniously in- 
fers, relate to the progression of ideas. But the cha- 
racteristics of these expressions mostly arise from the 
effects of passion or volition on the organs of the voice 
and the body ; as they are not designed to portray what 
passes in the mind. Many ideas are naturally associated 
with certain mental sensations, which accompany their 
perception, become denotements of their presence, and 
produce modifications of voice and gesture, which, though 
mere signs, appertain to natural expression. All ex- 
pression, whether visible or audible, founded upon resem- 
blance, cannot be merely conventional : even articulate 
language and purely social gestures, as contrasted with 
the language of nature, may be considered as deviations 



PRINCIPLES OF EXPRESSION. 61 

in development, rather than radical distinctions : for the 
proper employment of even the conventional modes of 
intercourse, when associated with natural expression, de- 
velops a congruity with it, and shows the tendency in 
articulate sound, to adumbrate the thing signified. 

Those who maintain that the resemblance presented 
by the delineative employment of voice and gesture, 
must necessarily be faint, because there is no intrinsic 
similitude between vocal sounds, bodily positions and 
movements, and the forms, relations, general and dis- 
tinctive traits of most objects imaged by the mind, 
should define the similarity between colors and canvass, 
and the form and features represented by the painter. 

The acute penetration of wit perceives, and the broad 
apprehensiveness of imagination imparts a resemblance, 
which is discerned, only when the mind rises to the 
highest regions of conception, in which the great ana- 
logy in nature's developments, is visible to the mental 
eye : in this sense, perhaps, Aristotle's definition of 
poetry — imitation — should be construed. 

The analogy between the significancy of language 
and expression, resembles that among objects that the 
mind apprehends through different senses. The use of 
the same terms to denote attributes in subjects that have 
no absolute similitude, is a result of this principle of 
association. The ambiguity and various imports of 
words, and the peculiarities of application, render the 
meaning of language equivocal and obscure ; and, of the 
6 



62 PRINCIPLES OP EXPRESSION. 

many constructions of which it is susceptible, the reader 
selects that which best satisfies his own judgment : but 
when expression is substituted for merely verbal commu- 
nication, the light shines in the midst of darkness ; as 
the meaning intended is clearly displayed, and the sense 
is no longer indeterminate. For this reason, the best 
test of the appropriateness, of the employment of any 
form of expression, is the interrogatory — What does it 
mean ? In ascertaining its meaning, the observer should 
ever keep in view, that the variations of pitch, quantity, 
volume, and quality, and the movements and positions 
of the head, shoulders, arms, hands, feet, and lower 
limbs, the consentaneous action of the trunk, and the 
expression of the countenance, are concordant with the 
connection of idea with idea in the mind, and that the 
expression follows the process of abstraction, and repre- 
sents objects, not in the entireness of their being, but in 
their particular relations. 

Various phases of expression, occasioned by diversity 
of subject and form of communication, may be classified 
by the division of expression into Dramatic, Oratorical, 
Didactic and Poetic. 

Dramatic acting is the development of the mental, the 
moral, and the social traits of character, through the 
manifestation of thought, motive, and passion, colored 
by the temperament with which they are associated. Its 
fundamental principle is imitation, extending through 
every degree, from symbolical suggestiveness to positive 



PRINCIPLES OF EXPRESSION. 63 

semblance. Its theme is the history of man ; embracing 
his knowledge and inexperience, his virtues and vices, 
his merits and foibles, his triumphs and defeats, his hopes 
and fears, and the almost numberless sentiments which 
swayed his mind in ages past, and those which sway it 
now. 

Oratorical delivery is more expanded but less diversi- 
fied than dramatic. It is natural language with conven- 
tional modification. It derives many of its qualities from 
the rhetorical exornations, and the sentiments, narra- 
tions, explications, and descriptions, vivified by passion, 
with which it is associated. 

Didactic delivery is purely intellectual. Its execution 
is precise and deliberative. Its purpose is illustration 
and exemplification. 

Poetic delivery associates the imitative character of 
dramatic delivery with oratorical execution. Being re- 
citational in its form, the sentiment is merely the ground- 
work of the expression. The latter is characterized by 
ornament, harmony, and completeness of detail. 



64 DIVISIONS OF THE VOICE. 

CHAPTER II. 

RELATIONS AND ELEMENTS OF THE VOICE. 

SECTION I. 

Divisions of the Voice — Elementary and Expressive. 

The primary division of the voice is into articulate 
and inarticulate sound. The articulate refers to the 
vocality, aspiration, quantity, and formation of the al- 
phabetic elements. The inarticulate, to voice in the ab- 
stract, or separated from syllabication. The latter 
regards simply pitch, volume, quantity, and quality; 
though these elements are generally considered with re- 
ference to their application to syllabic sound. Dr. 
Rush has classified vocal sound under five genera — 
quality, force, time, abruptness, pitch. As force denotes 
comparative loudness, — and abruptness, certain combina- 
tions of volume and quantity, they relate to specific, 
rather than to generic distinctions. In this treatise, 
Volume comprehends force and abruptness. 

The voice in reference to expression, may be classed as 
Characteristic, Significative, Symbolical, and Imitative. 

It is Characteristic, when representative of tempera- 
ment, mental, physical, and national traits, social posi- 
tion, historical and fictitious conventionalities. This di- 
vision of the voice is personative. It always denotes a 



COMBINATION E VOCAL ELEMENTS. 65 

particular modification of the expression of thought and 
passion. 

Vocal sound is Significative, when denotative of pas- 
sion, determination of the will, the sensations inspired by 
the contemplation of any subject, &c. Significative 
utterance is connected with reflection, as well as with 
feeling and volition. 

Symbolical expression represents some prominent or 
distinctive quality or adjunct of an object. Though it 
thus presents the semblance of a part only, it is, from 
its suggestiveness, naturally indicative of the whole. 
This division of expression is elucidative and determi- 
native. 

Imitative vocal sound presents a resemblance strictly 
conformable to the picture in the mind. This is the per- 
fection of oral exemplification and illustration. It is 
instrumental in executing the purposes of fancy and 
imagination, and is the most comprehensively communi- 
cable mode of imparture by voice. 

SECTION II. 

Combination of Vocal Elements. 

A single emission of the voice, rises, or descends, or 
continues on a line with its commencing point. As 
speech always rises or descends, these progressions dis- 
tinguish it from the unvarying movements of song. 
Even inarticulate utterance, generally changes from 
6* 



66 COMBINATION OF VOCAL ELEMENTS. 

grave to acute, or from acute to grave. The extent of 
the rise and the descent, depends upon the sentiment, 
and sometimes upon the syllabic structure of the verbal 
medium. The significancy of the different degrees of 
pitch, requires definite volume, quantity, and, sometimes, 
quality. 

As the vocal elements are found in the enunciation of 
every syllable, diversity in their combination, extends 
from mere difference of intensity on a single element, to 
variation of progress and intensity on all : disproportional 
increase and diminution of pitch, quantity, and volume, 
are the most extensive source of expression. The com- 
binations of these elements, exhibit volume gradually 
increasing, diminishing, or instantaneously exploding, 
its unvaried protraction on a part or the whole of the 
concrete pitch, and its alternate increase and diminution. 
Volume as a decrement, may be united with pitch and 
quantity as increments ; but there are limitations to the 
increase and diminution, which are determined by the 
essential character of the forms of the concrete. 

Increase of volume, the pitch and quantity remaining 
the same, tends to explosiveness. Variation in quantity, 
and in amount of volume, is productive of change in 
form of stress and pitch; and variation in quantity 
alone, may sometimes render change in the form of stress 
almost unavoidable. Thus the elements of vocal expres- 
sion may differ in quantity only, principally, or inciden- 
tally, in the amount and progression of volume, and, like 



COMBINATION OF VOCAL ELEMENTS. 67 

quantity, volume may be the sole, the chief, or the acci- 
dental distinction. Difference of degree in concrete 
pitch, seems to be regarded, by some writers, as the pri- 
mary distinction in vocal expression ; consequently, the 
various applications of volume and quantity, are viewed, 
by them, as only modes of executing the concrete pitch. 
Whatever prominence, extension of pitch may give to a 
syllable, pitch has not the power of varying the signifi- 
cancy which belongs to the other elements ; though its 
functions cannot be discharged by the others, and its 
degrees are more definitely marked. The expressive 
elements may vary in concrete pitch chiefly, but never 
solely nor incidentally, and may vary in the direction, 
and (without becoming more or less acute) in the extent 
of the progress of this pitch. 

Quality, in some of its modifications, is dependent 
upon particular combinations of pitch, quantity, and 
volume ; in others, it can be united with all combina- 
tions of these elements. Its various kinds and degrees 
are not so much determinative of the character, as of the 
significancy of the conjunctions of the other elements. 

But change in the vocal structure of a single syllable, 
cannot produce that variation of signification which 
arises from contrast in the judicious association of diffe- 
rent forms of stress, modes and degrees of pitch, de- 
grees of quantity, and modes of quality, in the develop- 
ment of the meaning of a sentence. It is not by learning 
how to vary the pitch, or any other element, or to exe- 



68 PITCH. 

cute any mode of speech, that a knowledge of the prin- 
ciples of expression can be obtained ; but by the proper 
consideration of the import of the consecutive utterance 
of the expressive elements, in the current of delivery. 

SECTION III. 

Pitch. 

As this treatise is an analysis of expression, and not of 
the elements of expression, it is not consonant with its pur- 
pose, to introduce the minute illustrations and descrip- 
tions of the forms of diversified conjunctions of the vocal 
elements, which can be found in works of a more elemen- 
tary character. A summary exposition of the expres- 
sive elements, in connection with a comprehensive eluci- 
dation of the four elements of vocal sound, affords the 
broadest basis for the illustration of the expressive ap- 
plication of voice. This applies to the modes of stress 
and pitch first described in this work, as well as to those 
which have been explained by Rush and others : the 
elucidation of volume and pitch, rendering every modi- 
fication easily understood. As pitch extends from the 
lowest utterable sound, to the most piercing scream, its 
intermediate degrees afford means for distinguishing the 
gradations of thought and passion, according to the 
mental impressibility which characterizes them. 

The form of pitch which first presents itself for con- 
sideration, is that with which a single syllable is enunci- 



PITCH. 69 

ated in mere pronunciation. It opens, with compara- 
tively full volume, and, while rising or descending, gra- 
dually and equably diminishes in volume. Dr. Rush, 
who first described its formation, denominates it the 
"equable concrete;" and defines its extent, from its 
initial to its final point, to be an interval of a tone of the 
diatonic scale. The equable concrete, when not merely 
pronunciative, can be extended through the compass of 
the voice, and to various intervening degrees. 

The voice can rise and descend, concretely and dis- 
cretely, through every degree of a scale of whole tones ; 
and it can traverse, in an ascending and in a descending 
progression concretely, and in an ascending progression 
discretely, through the interval of a semitone; but it 
does not descend discretely, less than a whole tone, in 
semitonic melody. 

The concrete and the discrete intervals of the second, 
the third, the fifth, and the octave, are generally viewed 
as the degrees of ascension and declension in the current 
of discourse, emphasis, interrogation, exclamation, affir- 
mation, the cadence, &c. And the observation of the 
sounds of the voice, with regard to their measurable de- 
grees, by those whose attention has been directed towards 
them, has generally been confirmatory of these distinc- 
tions. — "The cries of a city," says a popular cyclo- 
pedia, " that is, the scarcely articulate, but often very 
musical sounds, uttered by persons selling things on the 
street, generally rise on thirds, or fifths, sometimes, on 



70 PITCH. 

octaves ; and this, although few of these people have 
ever been taught music. The cry of oysters, by women 
in Edinburgh, is always on an octave. Teachers of elo- 
cution are also aware, that human beings in general, 
naturally make such transitions under the influence of 
certain feelings. For example, a person indifferently 
surprised at hearing a friend say, ' I was the person who 
did so and so,' will say, ' Was it you?' rising only on a 
third at the last word. If greatly surprised, the rise 
will be a fifth. There may even be so great a degree of 
astonishment, that the word ' you' will begin on one note, 
and terminate on its octave. The answer, ' Yes, it was 
I,' will show corresponding declensions or falls of voice." 

Had Walker duly weighed the truth and importance 
of his own declaration, that " the plaintive tone greatly 
diminishes the slide," he would, himself, have ascertained, 
that different degrees of pitch serve definite purposes in 
expression, and avoided many erroneous views concern- 
ing the inflections of the voice. 

In the tremor, the concretes are rapidly executed and 
iterated on the same line of pitch, or each successive 
tittle may rise or fall discretely less than a semitone, 
or each of a number of successions of tittles, on the same 
line of pitch, may rise or fall by diatonic skips. The 
degrees of concrete pitch in the tittles, are the same as 
those of the single syllabic concrete. 

The formation of the wave by the union of two or 
more simple slides, does not change the degree of acute- 



PITCH. 71 

ness nor gravity. The junction, therefore, is not made 
to effect any purpose of pitch, but to extend quantity : 
consequently, though the wave is a mode of intonation, 
the consideration of it, from its expressive character, 
comes under the head of Quantity. 

The extension of concrete pitch in semitonic melody, 
is sometimes effected by uniting the semitone with a re- 
mote interval of the diatonic scale. 

The extent of the speaking scale, it is manifest, is the 
compass of the voice. This scale has no fixed arrange- 
ment of semitones, to determine the positive pitch of the 
current melody with musical precision ; although the ap- 
plication of key-notes, may be practicable to a limited 
extent. But, though a precise note might be assigned 
as the key-note of a melody, so far as regards the voice 
of an individual, it would prove too high or too low, for 
similar expressive ofiices in voices ranging in a different 
pitch. The relative degrees of current radical pitch, 
are sufficiently explicit to determine the commencing 
pitch, and are not promotive of that mechanical unifor- 
mity which is fatal to vivid and distinctive illustration. 

As the pitch of the current melody is not marked with 
the definiteness of the degrees of the concrete pro- 
gression and the radical skip, and as variations are ad- 
missible, it follows, that the voice does not pursue the 
same regularity in forming the general pitch of a sentence 
as in forming the particular concrete and discrete pitch 
of syllables. 



72 PITCH. 

The compass and quality of the voice, determine the 
absolute pitch of the particular key in which a sentiment 
is delivered ; but similar concrete and discrete move- 
ments, must be executed in the delivery of the same 
sentiment and language in all qualities and in all ranges 
of vocal compass, unless limited compass should render 
the execution of the wider intervals, impracticable. 

The analogy between the speaking and the musical 
scale, has not been precisely determined. The definite 
positions of semitones in the diatonic scale, are necessary 
to denote the melodial characteristics of music. This scale 
presents the sounds which, it is supposed, are produced 
naturally in the instinctive execution of song. The in- 
terval between the third and the fourth degree in the 
major scale, and that between the seventh and the 
eighth, are not regarded in the diatonic melody of 
speech. And, though in music the positions of the semi- 
tones in the minor scale, give the singing of this scale a 
plaintive expression, the plaintiveness of speech does not 
require definite places in a scale for its semitonic inter- 
vals. The third constituent of the rising tritone, extends 
through the interval of a tone, although its radical pitch 
is a third above the radical of the first ; thus disregard- 
ing the semitone between the third and the fourth de- 
gree ; and no observance of the semitone between the 
seventh and the eighth, occurs in passing through the 
compass of the voice by a progression of whole tones. 
The general exclusion of more than three concrete in- 



PITCH. 73 

tervals of a second, in ascending and in descending 
progression, cannot, therefore, arise from any necessity 
of pitching an additional concrete radically a semitone 
above the radical of the preceding. The radical ascent 
of a tone above the tritone, is not, itself, discordant, as, 
after the addition of one or more concretes on the same 
line of pitch as the third constituent, the voice can as- 
cend by the skip of a whole tone without marring the 
melody. But, as there must be a limitation to the rise 
and descent, to prevent the traversing of the whole ex- 
tent of the vocal compass by direct progress in diatonic 
melody, (a mode of progression, painful, laborious, and 
obstructive of expression,) and, as the tendency of the 
voice is to vary the application of the same degrees of 
pitch, and not to increase continually the acuteness or 
gravity, (which would be suggestive of a continual 
change in the character of the - sentiment,) certain de- 
grees of ascent and descent become habitual ; which ren- 
ders other progressions generally repugnant to the ear, 
and difficult to the vocal organs, from their singularity. 

When the first syllable is enunciated, the pitch of the 
current melody is determined. And, as various senti- 
ments require different degrees of general pitch, the 
progression must be confined to that range whicn tne 
sense of the language requires. To ascend or descend 
directly by more than three tones, seems to carry the 
voice beyond the melody ; and when it rises or descends 
by indirect progress beyond the tritone, or after pausing 
7 



74 PITCH. 

at the termination of the tritone, another melody appears 
to be formed ; as the ascent or descent of a tone, above 
or below the monotone on the line of the third consti- 
tuent, constitutes a ditone, and the interval which suc- 
ceeds the pause after a tritone, is not connected with 
that progression. 

The ditone and the tritone are denotative of continu- 
ation and conclusion and preventive of monotony, with- 
out indicating a change in the character of the senti- 
ment. Though four tones in ascending or descending 
succession — which may be denominated a Quartone — 
are generally forbidden, yet they may be required for 
particular purposes of expression. 

So far as regards the diatonic melody, the absence of 
any connection of tone and semitone, distinguishes the 
scale of speech from that of song. The question now 
arises, can the semitone be a constituent part of any 
other interval of speech than the minor third, and 
another mode of utterance * which will be described ? or, 
in other words, does the fifth consist of three tones and 
a semitone, and the octave of five tones and two semi- 
tones, &c. ? If they do, it cannot be truly asserted, 
that " the scale of the speaking voice has no interspersed 
semitones, nor is it limited, like that of music, to a pe- 
culiar arrangement of seven constituent intervals" ;f 
and the fifth, the octave, and the other intervals, must 
be measured by a scale which is not known in the exe- 
* The Minor Fourth. t Rush. 



PITCH. 75 

cution of the diatonic melody. If the fifth, octave, &c, 
do not conform to the musical scale, their several parts 
are whole tones, and these intervals must differ in extent 
from those similarly designated in music : the fifth em- 
bracing the interval of a minor sixth, and the octave ex- 
tending a tone beyond the musical octave. But, as they 
seem to accord in acuteness and gravity with the fifth 
and octave of the musical scale, they are so denominated. 
The designations represent modes of speech, which are 
readily recognized by the ear, consequently have definite 
significations, and precisely determine the pitch. 

The intervals of the fourth, the sixth, and the seventh, 
are peculiar modes of speech. They always seem, as 
mere sounds, to rise above, or fall below the intonation 
which the ear demands. They derive peculiar signifi- 
cancy from the infrequency of their employment ; though 
in intonating them with the other intervals of the scale 
in proper succession, they seem to differ from them in 
degree only : but in discourse, they are characterized by 
a peculiar shrillness, which may be observed in the mock- 
ing repetition of a word when the wave is not employed. 
They occur in the expression of scorn, terror, intoxica- 
tion, clownish glee, physical suffering, and in suppressed 
utterance, &c. 

If it should be supposed, that the characteristics here 
assigned to the fourth, the sixth, and the seventh, are 
fanciful distinctions, the accuracy of the supposition can 
be tested, by designating the pitch of those shrill utter- 



76 PITCH. 

ances which are sometimes heard within the compass of 
the natural voice, and which do not partake of the nature 
of the reduced falsette. 

The interval of the fourth here referred to, appears to 
agree with the sharp fourth of music, rather than with 
the perfect. 

There is a mode of plaintive utterance, which seems 
to extend the slide beyond the major third, and to bear 
the same relation to this interval, as the minor third 
bears to the second ; and to conform, in extent, to the 
perfect fourth. This form of voice, from its apparent 
intonation, may be designated the Minor Fourth. 

The distinct character of the speaking scale, the inad- 
missibility of the minor scale as a means of determining 
the extent of the intervals in speech, the fact that the 
plaintiveness of the semitone is not derived from any 
particular position, (as when it succeeds a ditone it has 
the same expression as when it succeeds a tone,) the ex- 
pressive character of the minor third, render the infe- 
rence, — that the concrete union in one slide of the semi- 
tone with the major third, is productive of plaintive- 
ness, — at least reasonable, if it cannot be positively 
asserted. 

Both analogy and audible perception point to the 
minor fourth as a definitive mode of utterance. But, as 
the semitone does not render the expression of the octave 
plaintive, though' considered the terminating constituent, 
there is an apparent discrepancy, which may be deemed 



PITCH. 77 

an invalidation of the views of the constituent character 
of one or the other of these intervals. But in this, the 
decision of the ear must be conclusive. 

It must not be inferred from these remarks in regard 
to concrete conjunction, that diatonic succession assimi- 
lates, in significancy, to concrete progression ; as the 
manner of executing an interval of pitch, is as important 
as the extent, and, in traversing through an interval by- 
tones, the acute or the grave characteristics vary from 
those of the single concrete. 

It is from contrast, that intonation derives its expres- 
siveness ; for in voices widely different in general pitch, 
similar intonation has generally similar import. The 
contrast between the graver and the more acute sound 
in radical pitch, and that between the radical and the 
vanish of concrete pitch, in gravity or acuteness, present 
somewhat similar audible effects ; but in diatonic ascent 
and descent, the regularity of the return of the same 
interval, prevents any striking contrast : consequently, 
though the ditone and the tritone are, in general, merely 
enunciative and declarative, the third and the fourth are, 
in general, emphatic or expressive. That syllable only, 
is striking in its discrete pitch, which departs from the 
current melody by a wide skip. But, although the 
radical pitch partakes, in some degree, of the signifi- 
cancy of the concrete, the return to the current melody 
by discrete pitch, is not analogous to a concrete of the 
same interval. 
7* 



78 VOLUME. 

SECTION IV. 
Volume. 

Volume is the amount of vocalized sound, without re- 
gard to the direction of the progress, the length of the 
duration, or the properties of the sound. Its various 
modifications constitute the different forms of stress, and 
its varied proportions produce the essential distinction, 
between the accented and the unaccented syllables, and 
between the extremes of the variations of the simple 
slide, viz. — the tittle of the tremor and the loud con- 
crete : the former requires the smallest amount that is 
adequate to the completion of the pitch, the latter, the 
greatest that the quantity of a syllable admits without 
explosiveness. 

The vocality of the alphabetic elements, is the volume 
of syllables ; which does not always participate in the 
upward or the downward movement, as the subtonic, 
when preceding a tonic, generally continues on one line 
of pitch. The amount of volume* can be readily in- 

# The phrase "amount of volume," may appear to be an improper 
pleonasm, as volume itself, is only the amount of vocalized sound. 
But volume denotes abstract quantity, or amount of sound, without 
regard to the variations occasioned by augmentation or diminution ; 
yet as it is more or less in extent, reference to degree of quantity 
is sometimes demanded : for this purpose, the phrase specified is 
employed. In speaking of the increase or diminution of the amount 
of volume, the phrase is nearly synonymous with the term volume; 



VOLUME. 79 

creased or diminished in compliance with the demands 
of expression. 

The short or immutable syllables, do not differ from 
the long or indefinite, in the amount of volume, but in 
its extendibility over the wider concretes, and in its capa- 
bility of protraction * and increase while the voice is 
progressing. 

As the volume of short syllables does not admit of the 
protraction of the full body of the radical, nor of pro- 
gressive increase, they are incompatible with those modes 
of stress which require these dispositions of volume. 

It is upon this capability of continued increase or pro- 
traction of volume, in long syllables, and not upon the 
syllabic quantity, that the structure of the loud concrete, 
the median, the vanishing, the compound, and the tho- 
rough stress, depend ; as the loud concrete, the median, 
and the thorough stress can be executed with compara- 
tively short quantity, and long quantity is generally in- 
consistent with the required expression of the vanishing 
and the compound stress. But the utterance of the me- 
dian stress with short quantity, tends to convert this 
stress into the vanishing. 

The tendency of the volume of short syllables to 

being more specific only. But when the amount is distinguished 
from the extendibility, difference of import, between the single term 
and the phrase, is manifest. 

* Extension of volume without augmentation or diminution in pro- 
gression of voice. 



80 VOLUME. 

diminish with rapidity, is the source whence arises the 
rapid concrete, the abrupt radical stress, and the limita- 
tion of these syllables to the lower degrees of concrete 
pitch. 

The distinctive structure of most forms of stress is 
not affected by the lessening or augmenting of the 
amount of volume. Deficiency in this vocal constituent, 
prevents the attainment of the proper extent of pitch, 
in the various slides, waves, and stresses ; particularly in 
those which require its continual diminution. Feebleness 
of voice frequently prevents the formation of the requi- 
site amount of sound, and is incompatible with any other 
mode of the concrete than the simple slide. Insufficient 
amount of volume, when it does not arise from organic 
feebleness, is caused by improper management of the 
voice. But this can occur, only when the structure of 
the equable concrete is retained, or the volume is pro- 
tracted ; as those forms of the concrete which require an 
augmentation of volume in their progress, demand the 
smallest amount at their commencement. 

Though this section is appropriated to the considera- 
tion of volume solely, yet the connate relations of vo- 
lume and quantity are such, as render their involutions 
almost inseparable in thought, and make a development 
of the dependence of volume upon quantity, indispensable. 

The principal effect of proper decrease of volume, is 
the prevention of the explosiveness which characterises 
full volume in conjunction with short quantity. 



VOLUME. 81 

When the radical fulness is too great to admit of the 
vanishing point, or the rate of diminution is insufficient 
to terminate the volume, and the quantity is too extended 
for explosiveness, the vanish has something of the ful- 
ness of the radical. This form of the concrete* is not 
amongst the acknowledged modes of speech in correct 
delivery. It belongs to the expression of vulgarity and 
rudeness, and to that coarseness of voice which is indi- 
cative of a want of mental and social refinement, or a 
preponderance of the animal nature. It is distinct from 
the thorough stress, to the misapplication of which, 
similar expressiveness has been assigned : but the im- 
proper use of this stress, savors more of bombast than 
vulgarity, and its proper employment is in the expres- 
sion of the loftiest emotions, and most dignified senti- 
ments, f 

The explosive stress and the loud concrete, differ in 
quantity, the loud and the slow concrete, in volume. 

The protraction of the time of the vanishing, is apt to 
change this stress into the median, as the jerking charac- 

* Denominated, in a subsequent part of this treatise, the Abrupt 
Concrete. 

f The phrases, "correct delivery," "misapplication of which," 
(thorough stress,) " proper use," " improper employment," in this 
paragraph, have reference to certain standards, styled refined con- 
versational and oratorical speech. A mode of applying the thorough 
stress which is inadmissible in these modes of delivery, may be dra- 
matically proper. 



82 VOLUME. 

teristic, which arises from its abrupt termination, is so 
antagonistic to the extended quantity, that the voice in- 
stinctively avoids it by gradual decrease of volume. 
But, if the volume should increase until the voice termi- 
nates, the augmentation is liable to be unaccompanied 
with variation in pitch, — a mode of utterance resembling 
the protracted vanish of song. 

Reduction of quantity tends to the conversion of the 
median into the vanishing stress, through the inability 
of the voice to execute contrary progressions of volume 
in the limited time. This causes the volume to increase 
until the voice ceases. 

No reduction of quantity can render the thorough 
stress explosive, though it may change this stress into 
the rapid concrete. 

The thorough stress most resembles the median in its 
expressive offices, and has nothing in common with the 
radical nor the compound stress. Additional quantity 
and volume, if the speaker does not carefully guard the 
vocal execution, convert the compound stress into a con- 
junction of the loud concrete and the median stress. 

The union of the compound stress and the wave, is an 
anomalous form of the concrete. It is effected by com- 
paratively long quantity on the first constituent of the 
stress, the continuation of the vanishing volume of this 
constituent, (a loud concrete,) through a large proportion 
of the extent of pitch, and by terminating with an ex- 
plosive vanishing stress. This combination of long with 



QUANTITY. 83 

short quantity, of prolonged with explosive sound, and 
the connection by the extension of the smallest amount 
of volume, constitute a slightly -whining utterance, for- 
cibly and abruptly terminating : a mode of stress and 
intonation ill adapted to the language of command, (to 
■which it has been applied,) however applicable to the 
energetic portraying of peevish repugnance, and the 
heightening of the expression of derision and of surprise 
associated with irritation. Dr. Rush's description of the 
possible structure of the second mode of the shake in 
song, cannot represent, as asserted, a continued wave 
whose constituents are compound stresses, as the junc- 
tion of the constituents forms a median stress. 

The coalescence of other stresses with the wave, has 
nothing peculiar, to distinguish this junction from the 
junction of the stresses with the slides : an explosive 
stress is incompatible with a wave, and the confining 
of the vanishing stress to the second or the last con- 
stituent, must either form a compound stress, or protract 
a small amount of volume through the first constituent 
of the single, or through the first two of the double 
wave. 

SECTION V. 
Quantity. 

Quantity is the duration of syllables. Its variations 
originate partly in the extendible or the abrupt character 
of the literal elements, and in the arrangement of them, 



84 QUANTITY. 

and partly, in the requirements of expression. Aspira- 
tion as well, as vocality, constitutes vocal time ; though 
its alphabetic forms, when succeeding a vowel, restrict 
the concrete progression. 

The protractibility of the vocality of the tonics and 
subtonics, is the basis of mutation of quantity in syl- 
lables : the short tonics and the atonies, render the time 
of syllables immutable. 

Dr. Rush has divided syllables, with regard to their 
quantity, into three classes : — the indefinite, the mu- 
table, and the immutable. The indefinite terminate with 
a tonic, or with any subtonic except b, d, or g. The 
mutable contain a long tonic, when they terminate with 
an atonic, and a short tonic, when they terminate with a 
subtonic. Syllables containing a long tonic, and ending 
with an abrupt subtonic, may be ranked with the mu- 
table, but their quantity admits of almost indefinite ex- 
tension. When one or more subtonics succeed a short 
tonic in syllables ending with an atonic, the quantity is 
somewhat mutable. The immutable are those syllables, 
in which an atonic immediately succeeds a short tonic. 
Expression sometimes demands the prolongation of the 
aspiration of the terminating atonic ; though this extends 
the time of vocal sound on short syllables, it does not 
destroy the immutability of the quantity of the syllabic 
concrete. 

As quantity frequently depends upon the position of 
the subtonics and atonies, the same literal elements may 



QUANTITY. 85 

constitute an immutable or an indefinite syllable. This 
arises from the varied relations of the alphabetic ele- 
ments to the concrete movement. "When an immutable 
syllable commences with a subtonic, prolongation of 
quantity can be effected by protracting the subtonic on 
a line of pitch before commencing the radical on the 
tonic, or by commencing the radical with the subtonic, 
and continuing the subtonic through the greater part of 
the concrete pitch. But, as the first of these modes of 
protracting the subtonic, obstructs, to some extent, the 
equability of the flow of the concrete, and is analogous 
to the protracted volume of song, and as the second 
mode prevents the due apportionment of the literal ele- 
ments, and renders many of them indistinct, they deform 
the enunciation. For these reasons, the syllable Up, is 
ranked with the immutable, while the syllable pil, con- 
taining the same literal elements, is classed with the in- 
definite ; as the I in pit forms part of the concrete rise 
or descent without depriving the other letters of their 
part of the concrete progression. 

Prolongation of quantity, is the object of the exten- 
sion of the syllabic concrete through the wave. It 
attends the protraction and progressive augmentation of 
volume, and the extension of pitch. But the wider in- 
tervals of concrete pitch do not necessarily have longer 
quantity than the more approximate degrees, unless the 
difference in pitch approaches extremes : for, though the 
same quantity may be associated with the interval of the 
8 



86 QUANTITY. 

fifth and that of the octave, the octave and the second 
cannot be executed with the same quantity. ^ 

Every mode of stress, and degree of pitch, admits of 
various degrees of quantity, and the quantity may be 
varied on the same concrete progression. 

The wave is the chief instrument for extending quan- 
tity. This mode of intonation is distinguished from the 
simple slide, by the continuation of the voice through 
contrary flexures, and not by the degree of pitch. There 
is nothing in its structure which renders long quantity 
indispensable to its accomplishment, as it can be executed 
with rapidity ; but the contrary slides afford means for 
prolongation, and very short quantity on the wave, is 
contrary to the ordination of speech. 

The significancy of the wave, apart from the various 
expressions of the different intervals, depends mainly 
upon the direction of its second or its last constituent. 

As degree of pitch is not a distinguishing attribute of 
the wave, the designating of the extent of the pitch of 
its constituents by radical skips of simple slides, corre- 
sponding to the pitch of the flexures, cannot impart to 
syllables of short quantity the expression of the wave ; 
and, whatever may be the number of the constituents, 
there must be a oneness in the signification of the wave, 
which does not accord with the separate signification of 
each simple slide. 

As the quantity of syllables is variable, (whatever may 
be the rate of movement,) no formal return of the same 



QUALITY. 87 

quantity occurs in expression, to constitute the equality 
of temporal sections in the rhythm of speech without 
the frequent employment of pauses of various length. 

But as the number of syllables in the measures of 
speech, varies from one to four, there can be no regularity 
in the recurrence of the accent ; consequently, the pulsa- 
tive and the remiss efforts of the voice, require equality 
of time in the measures, to proceed with rhythmical pro- 
gression. To effect this, the time of the measures must 
be the quantity of the longest syllable or word ; and as 
each accented syllable must commence a measure, the 
time of the measures must be frequently occupied by 
pauses of such varied length as is incompatible with cor- 
rect expression.* 

SECTION VI. 

Quality. 

The voice is constituted of vocality and aspiration. 
But in elocution, unaspirated sound only, is denomi- 
nated vocalized. The vocalization of the breath, is 
attributed to the vibration of the chords of the glottis. 
If this vibration is productive of vocalized sound, its 

* The metronome of Maelzel is sometimes employed to designate 
the positive time of the measures. Though this instrument is an 
important aid to the student in acquiring a command of quantity, its 
employment to regulate the time of the voice and of pauses in ex- 
pression, resembles the use made of the stop-watch by Sterne's critic. 



88 QUALITY. 

varying velocity must necessarily vary the character of 
the sound. From analogy to the sounds produced by 
the vibrations of musical strings, it is inferred, that the 
pitch of the voice depends upon the rapidity with which 
the chords of the glottis vibrate. If a violin string is 
extended, with sufficient degree of tension, between two 
points at proper distance, it vibrates, when struck, two 
hundred and forty times in a second, which produces the 
note C or Do : if the length of the string should be less- 
ened one-half, and then twanged, the vibrations would 
be double, or four hundred and eighty in a second, and 
the note produced, would be the octave of the first C. 
So the shortening of the string by varied proportions 
greater than one-half, produces all the notes of the scale. 
It is supposed, that in singing the note C, its octave, 
&c, that the vibrations of the glottis in a second, cor- 
respond, in number, to those of the violin-string.* 

The modifications of laryngeal sound, caused by varied 
reverberation in the organic structure of the voice, either 
through limitation of resonance to some particular part, 
or the participation of the whole of the reverberant 
parts of the vocal apparatus, constitute the various vocal 
attributes designated by the terms colloquial, orotund, 
guttural, pectoral, and nasal. These modes of voice, 

* The purpose for which this reference to the organic causation 
of pitch has been introduced, does not require an enumerative notice 
of the different organic actions and positions, which are assigned 
instrumentalities in effecting variation in pitch. 



QUALITY. 89 

with aspiration and the falsette, are, in elocution, styled 
Qualities. The varied execution of the qualities, (whe- 
ther separate, or combined in a greater or less number,) 
in conjunction with various modes of the other vocal 
elements, form the characteristics referred to in popular 
language by the epithets, harsh, mild, rough, smooth, 
hoarse, clear, full, thin, flat, sharp, thick, round, &c. 

The nature and structure of the vocal apparatus in 
different persons, may, doubtless, impart some of the 
peculiarities which distinguish different voices, and render 
the sounds so varied ; but diversity in quality alone, con- 
sists mainly of various conjunctions of vocality and as- 
piration, different degrees of depth and shrillness, hol- 
lowness and thinness, and the degree of admixture of 
nasal and pectoral resonance. 

Depth and shrillness considered as general attributes, 
are discriminated from the gravity and acuteness of in- 
tonation ; as the voice may be low-pitched without being 
deep, and high-pitched without being shrill. 

Organic obstruction and muscular compression, are 
the principal instruments in the diversification of vocal 
sound. The former stops or directs the course of the 
sound after its emission from the glottis, and thus deter- 
mines the nature of the articulate sound and the vocal 
quality. The latter, when the compression is not suffi- 
cient to jDroduce rigor in the organic parts, gives com- 
pactness to the sound, and promotes the resonant action 
of the vocal apparatus. 
8* 



90 QUALITY. 

Depth of voice appears to originate in the retraction 
of the root of the tongue. Too great a retraction, 
causes an undue pressure of the muscles around this part 
of the tongue and the larynx, which confines the rever- 
berations below the root of the tongue, thus obstructs 
the flow of sound, and renders the voice harsh and vi- 
bratory. When the vocal sound is repelled through this 
straitened passage without reverberation, it becomes 
semi-aspirated, partially loses its volume, and is deprived 
of its vibratory character. 

If the retraction of the root of the tongue is not suffi- 
cient to obstruct the passage of the voice, but to give 
due compression to the throat, in order to secure its 
moulding influence, and allow and promote a high degree 
of resonance in all the reverberating chambers of the 
organic structure according to the requirements of arti- 
culation, the voice becomes hollow and compact, is ne- 
cessarily free from nasality and aspiration,* and the com- 
plete concretion of sound prevents vibratory utterance. 

The organic and the muscular action, and the position 
of the organs, required in abstract articulation, to form 
the distinct sounds of the literal elements, produce modi- 
fications of the laryngeal sound, varying in fulness of 
vocality, resonant character, &c. When the organic ac- 
tion of simply distinct articulation, is preserved in the 

* This denotes comparative exemption, or the blending of no more 
nasality and aspiration with the vocal quality, than articulation ab- 
solutely demands. 



QUALITY. 91 

current of discourse, the voice is intermediate between 
depth and shrillness, is not impaired by exclusive reso- 
nance in one part of the vocal organs nor by defective 
vocalization, and, though the volume is not characterized 
by the highest degree of concentration, it does not lack 
definiteness of outline. 

There is a mode of vocal sound, in which the organic 
action and positions which determine the quality of the 
voice, seem to be limited to the region of the lips. As 
the action of the greater part of the vocal organs is ap- 
parently ineffective, and as the sound produced is distin- 
guished by a mincing character, which arises from the 
improper compression of the lips, this mode of voice may 
be denominated Labial. 

Reverberation, to some extent, in the throat, the cavity 
of the head, along the arch of the palate, and the roof 
of the mouth, is necessary to produce purity of tone. 
When the veil of the palate is lowered too far, and the 
root of the tongue is raised too high, too great a propor- 
tion of sound is forced against the nasal passages, which 
causes undue resonance, and produces a quality of voice 
which is distinct from every other, and approximates to 
no other quality in its most diversified execution. When 
the lungs are not furnished with a sufficient supply of 
air, or the action of the abdominal muscles is feeble, the 
voice seems to be buried within the chest: — the sound 
is muffled and murmuring, and admits of little diversity 
in its pitch and volume. When this voice is voluntarily 



92 QUALITY. 

assumed, the feeble expulsive action of the abdominal 
muscles is imitated. 

The varied action of the vocal organs, and the diver- 
sities of vocalized sound, which have been noticed, refer 
to the most prominent organic causations of the guttural, 
the orotund, the colloquial, the nasal, and the pectoral, 
as well as the labial quality, and the primary distinctions 
among these qualities. 

The guttural quality, in depth, exceeds all others. 
The organic obstruction from which it arises, prevents 
much variation in its utterance. Its harshness is both 
the effect and adjunct of its vibrations, which cause an 
unevenness in the diminishing, the augmenting, and the 
protracting course of the volume. The vibrations cease, 
and the voice becomes partially aspirated, when this 
quantity is uttered with explosive force. 

The orotund is an assemblage of vocal perfections. 
General resonance imparts to its tone, that hollo wness 
which seems to be a concentration of the whole laryn- 
geal sound, for the most sonorous effects, and an expan- 
sion at each step of its reverberating progress. The 
essential fulness of volume, is adapted to the most for- 
cible execution of explosive stress, and the smooth and 
flowing character, which results from the absence of na- 
sality, aspiration, and vibration, imparts evenness to the 
progressive course of volume ; the latter gives distinct- 
ness to the more protracted forms of stress, and renders 



QUALITY. 93 

them and the widest concrete intervals, perform able with 
facility. 

The colloquial or natural voice, is simple, pure tone ; 
consequently, its excellences are of a negative character. 
It has not the gravity nor hollowness of the orotund, 
although equally smooth and flowing. The comparative 
dissipation of sound, prevents that prominence which the 
compactness of the orotund gives to the distinctive fea- 
tures of the forms of stress. 

The peculiarity of the nasal sound, prevents compa- 
rison with other qualities. It admits of variation of 
quantity and pitch, but the different forms of stress can 
hardly be distinguished when uttered with it. Its em- 
ployment is admissible in caricature only, or in the re- 
presentation of some of the traits of the ridiculous in 
character. When otherwise introduced, it is the greatest 
fault in elocution. 

The pectoral is a low but not a deep voice. It is. in- 
compatible with loudness and shrillness, and admits of 
little variation in its general pitch. In attempting^ to 
extend general pitch beyond its limits, impart great 
force, or execute the wider concretes, the vocalized sound 
is partially changed to aspiration ; and in the most for- 
cible efforts, aspiration entirely displaces vocality. 

The labial quality is a mode of utterance which is 
not consonant with the depth and force required by 
merely distinct enunciation. It is antagonistic to long 
quantity, and can be uttered with the simple slide only. 



94 QUALITY. 

The falsette seems to be a high degree of pitch, rather 
than a distinct quality. — Though for convenience of re- 
ference, it may be called a quality. — It is a mode of 
voice, in which there is no depth nor hollowness, although 
it can be made to resound in those parts of the organic 
structure which impart depth and hollowness to other 
voices. By resonance in these parts, the shrillness of 
the falsette may be reduced, and something of the hoarse- 
ness of the guttural, the fulness of the orotund, and the 
peculiar sound of the nasal, may be united with it. 

Some of the qualities, although distinct from one an- 
other in their essential characteristics, exhibit different 
degrees of the same constituents ; and some are gene- 
rally, and, in some instances, necessarily associated with 
certain degrees of volume and general pitch. From the 
variation of the essential attributes, and of the charac- 
teristic force and general pitch, approximation in some 
of the qualities, results. 

Gradation in depth of voice, is presented by the labial, 
the colloquial, the orotund, and the guttural ; extremes 
of general pitch, by the pectoral and the falsette ; and 
gradation of volume, by the pectoral, the labial, the 
guttural, the colloquial, and the orotund. The orotund 
and the colloquial differ in the degree, but these qualities 
differ from the others, and the others differ from one 
another, in the nature of resonance. 

The voice can pass, in some qualities, from one to an- 
other, without interruption ; as in changing from the gut- 



QUALITY. 95 

tural to the orotund, from the orotund to the nasal, &c. 
But in passing from the pectoral to the nasal, from the 
guttural to the falsette, and in other instances, a hiatus 
is produced. 

The qualities may either approximate or combine. 
Combination, as distinguished from approximation, is 
association of qualities without modification. The gut- 
tural and the orotund, the orotund and the colloquial, 
the colloquial and the labial, the colloquial and the fal- 
sette, may respectively approximate, and, by approxima- 
tion, produce modes of voice, which are constituted, in 
part, of the highest degrees of some of the character- 
istics of the approximating qualities, and, in part, of the 
lowest degrees of other characteristics. The pectoral 
can be combined with the guttural, but with no other 
quality ; aspiration, with every quality except the falsette ; 
and nasality, with all except the pectoral : but its com- 
bination with the guttural is to a slight extent only. 
The combination of the labial with any other quality, 
adds to the defects of this vocal deformity. 

Aspiration occurs in various degrees in mere syllabi- 
cation and in speech. It may constitute the entire utte- 
rance, or may be united in varied proportions with vo- 
cality. The extent of its combination with vocalized 
sound, determines the expressive character of vocal 
quality. The whisper, or purely aspirated speech, ad- 
mits of the same variations of quantity as vocalized. 
The different modes of stress can be executed with it, 



96 QUALITY. 

but with ruggedness, and without that defmiteness of 
outline which characterizes their finished vocalized forms. 

The intonation of aspiration is distinguished by a pe- 
culiarity which sometimes prevents the effecting of the 
requisite pitch in expression. The pitch of the whisper 
appears to depend upon the action of the vocal organs 
in articulation. The modification of the breathing sound 
produced by change in organic action, in the formation 
of subtonics and atonies, and atonies and tonics, in syl- 
labic coalescence, renders the accomplishment of the dif- 
ferent intervals generally practicable, though in some 
instances difficult. In simply breathing with acuteness 
of sound, the tongue is involuntarily raised towards the 
roof of the mouth ; in endeavoring to intonate the scale 
with an aspirated tonic, it is found impossible to reach 
the highest intervals, either by a skip of the voice or by 
continuous sound, with a tonic whose articulation does 
not admit of this disposition of the tongue. 

Some of the tonics are limited in their initial and in 
their continuous pitch, to the lowest degrees ; amongst 
them, are those whose vocalized execution admits of the 
widest intervals with the greatest facility ; as a in all 
and a in arm. This sometimes prevents the proper in- 
tonation in accented syllables containing a tonic only. 

As h requires the same position of the articulate 
organs as the tonic with which it is associated in a syl- 
lable, it does not change the characteristics of the tonic 
intonation. And as w requires nearly the same organic 



QUALITY. 97 

position as oo in ooze, and y nearly the same as e in eve, 
there is not sufficient variation of articulate action, to 
render wide intonation practicable by the coalescence of 
w and oo, and that of y and e; on the contrary, the 
closer position of the organs required by the subtonics, 
seems to restrict the admissible pitch of the tonics. 

It is somewhat difficult to distinguish a more forcible 
from a more acute aspiration. If the air in breathing 
forcibly, is expelled through an unobstructed cavity, it 
partakes of a grave character, — but if made to strike 
against the roof of the mouth, it becomes acute. Oo in 
ooze, appears to admit of the least elevation of initial 
pitch and the least explosive force ; and it is restricted 
to a continuous pitch of a third ; though e in eve, can- 
not have a higher continuous pitch than oo, and its ini- 
tial pitch is restricted to a third, yet it can be uttered 
with considerable stress, which might be mistaken for a 
very acute pitch. This can be tested by asking the 
question — "Did you say eV with the intonation of in- 
interrogative surprise : the articulation of e prevents 
the attainment of the requisite interval, and the effort 
results in additional force, but not increased acuteness. 

The widest intervals are impracticable on the short 
tonics, in aspirated as well as vocalized sound. Of the 
monothongs, oo in ooze, appears to require the lowest, 
and i in if, and a in an, admit the highest initial pitch. 
I in if is most restricted in its continuous pitch, while a 
in an admits of the widest interval. Of the diphthongs, 
9 



98 QUALITY. 

o in old, is limited to the lowest range of initial pitch, 
and a in all, admits the widest. In continuous pitch, 
they all admit of wider intervals than the monothongs ; 
that of oi in oil, is the most restricted, and that of a in 
ale, admits of the most extension. 

Although the subtonics which have analogous atonies, 
when aspirated, resemble the atonies, they are not iden- 
tical with them. If " the subtonics, v, z, w, th, zh, when 
whispered," were "not respectively different from the 
atonies, — /, s, wh* th, sh," there would be no difference 
between vine and fine, his and hiss, &c, in whispering 
communication. 

The preservation of the slight difference in organic 
action, between the articulation of a subtonic and that 
of its analogous atonic, gives a shriller and somewhat 
protracted sibilant character to the atonic. The aspi- 
rating of the subtonics, does not destroy their syllabic 
character ; which renders a whispered subtonic, more 
easily distinguished from its analogous atonic when it 
succeeds, than when it precedes a tonic, from its effect 
on the quantity, stress, and pitch of a syllable. 

* Wh is not a distinct element, being only a succession of the 
atonic and subtonic ; but h is generally mute. 



ALPHABETIC ELEMENTS. 99 



CHAPTER III. 

RELATION OF THE ALPHABETIC ELEMENTS TO EXPRESSION. 

The competent elocutionist, in fulfilling the require- 
ments of expression, finds the characteristics of articu- 
late sound and syllabic structure, in some instances at 
variance with the constituents of the expressive sound, 
and in others, in conformity to them. 

Every syllable admits of variation of vocal quality, 
but not of every degree of all qualities. The diversity 
in depth, extent of vocality, resonant character, purity 
of tone, harshness, and smoothness, which occurs in the 
utterance of different syllables with the same quality, 
produces, in the aggregate of the delivery, variations of 
the quality, which materially affect its expressive cha- 
racter.* 

The alphabetic elements present, in abstract articula- 
tion, most of those .characteristics which constitute the 
varieties of quality ; exhibiting, in various degrees, gut- 
tural depth, orotund hollowness, the comparative sharp- 
ness and limited volume of the colloquial voice, the com- 

* In this chapter, the effect of the extendible or the immutable 
nature of syllabic volume on quantity and stress, and consequently 
on the character of expression, is not regarded. 



100 ALPHABETIC ELEMENTS. 

bination of vocality and aspiration, pure aspiration, and 
nasality, but not pectoral nor falsette sound. 

In mere pronunciation or inexpressive reading, the 
character of the articulate sound is only slightly per- 
ceptible, from the inseparable and comparatively rapid 
articulation in syllabication ; yet the nature of the literal 
elements, partly determines the expressive capacity of 
the syllable. But the character of abstract syllabic 
sound, does not depend merely upon the union of similar 
or diverse literal elements, but upon the accordance or 
diversity of organic action in enunciation; which im- 
parts, according to the facility or difficulty of enuncia- 
tion, a flowing or obstructed character to syllabic sound. 

In the variety of sounds embraced in the alphabetic 
elements, the voice frequently finds instruments, parti- 
cularly when the words are not monosyllables, to aid in 
the acquirement of appropriate expression ; and, by the 
prominent development of some literal sounds, and the 
comparative slighting of others, mere articulate sound 
may be rendered expressive. When peculiarity of sound 
in syllables, results from the coalescence of the elements, 
mere syllabication may be expressive. 

The tonics diifer from one another, in extent of vo- 
cality, as well as from the subtonics, and vary in depth. 
This refers to the difference in merely distinct articula- 
tion and to the degree of susceptibility, and not to pos- 
sible variations. The observation of Rush, that, "in 



ALPHABETIC ELEMENTS. 101 

regarding the circumstances of accent, it ought to be 
borne in mind, that the difference in kind of the elemen- 
tary sounds, may, in some cases, be mistaken for a dif- 
ference in force ; since to many an ear, ee-l and a-le, 
might seem to be surpassed by ou-r and a-we," — seems 
to proceed from the opinion, that the tonics are charac- 
terized by the same amount of vocality. 

So far as relates to the " circumstances of accent," 
ee-l may or may not be as forcible as ou-r or a-we, (this 
depends upon the character of the speaker's delivery), 
but that it has not the same degree in the delivery of 
most practised speakers, when, in forcible utterance, the 
sentiment demands similar stress, is apparent to most 
observers : that it does not admit as great a degree, is 
evident. 

In uttering these tonics with the greatest explosive 
force and median swell of which they are capable, only 
the most energetic use of the vocal organs, reaches that 
forcibleness on ee-l which is attainable with moderate 
exertion on ou-r and a-we, if any reliance can be placed 
upon the evidence of audible perceptions ; and the diffi- 
culty attending the forcible utterance of ee-l, shows, that 
it is essentially incongruous with great stress. This fact 
furnishes a solution of the cause of the inadmissibility 
of accentual radical stress on the first syllables of such 
words as "beguile, indeed, delay, and revenge," which 
are referred to by Dr. Rush, as examples of words, in 



102 ALPHABETIC ELEMENTS. 

which the predominance of temporal accent is almost 
unavoidable. 

The first and the second syllables of these words 
equally admit of long quantity ; but the accentual volume 
of the first, is not so full as that of the second ; conse- 
quently, while the radical accent can be executed with 
propriety on the second, its execution on the first, re- 
quires a greater stress than that which ordinarily cha- 
racterizes their accentual force, and a diminution of the 
volume of the second beyond the unaccentual degree. 
The word perfume, though it has the same "temporal 
arrangement" as beguile, indeed, &c, can receive the 
radical accent on either syllable, but if u in the second 
syllable, had the sound of oo in ooze, and not that of u 
in use, the radical accent would not be admissible on this 
syllable : but with the proper tonic sound, the quantity 
of the second syllable may be long, when the accentual 
radical stress is applied to the first. 

In depth combined with resonant fulness, the articu- 
late sounds of a-U, a-rm, oi-\, o-ld, ou-y, exceed all others. 
U-j) has a guttural depth, i^-rr and e-nd have collo- 
quial depth and resonance. A-\e, i-ce, a-ir, and a-t, 
have a sharper and more expanded vocality than 
e-rr and e-nd. JE-\e and i-i are the sharpest tonic 
sounds, and have, excepting oo-ze, the least extent of 
vocality. 

The following table presents what appears to be the 



ALPHABETIC ELEMENTS. 103 

order of augmentation of vocalitj in the successive 
stages of tonic force. The strict accuracy of the pro- 
gressive order, is not maintained ; but the table is deemed 
sufficiently accurate for illustration and practical pur- 
poses. The progression is from the bottom of the 
column. 

ou-r, 

a -11; 

fl-rm, 

i-ce, 

«-le, 

oi-lf 

o-ld, 

M-p, 

ai-r, 
a-t, 
e-rr, 
e-nd, 
e- ve 5 

oo - ze. 

The gradation of the tonics in depth, requires, for 
illustration, a different columnar arrangement. The 
accuracy of the following gradation, like that of the 
preceding, is not positively asserted, but the articulation 
of this series of tonics from e-ve to w-p, demonstrates 
that articulate depth is at least progressively variable. 

The reader must discriminate between depth and 



104 ALPHABETIC ELEMENTS. 

pitch, or he will be apt to confound the low pitch of 
oo-ze with depth. 

w-p, 

a -11, 

a-rm, 

o-ld, 

c-rr, 

ow-r, 

oi-1, 

e-nd, 

ai-r, 

i-ce, 

oo - ze, 

a-le, 

o-t, 

i-f, 
e-ve. 

The subtonics vary in articulate force and depth, but 
there is no gradation in either ; and, in depth, but little 
variation. The diversity in subtonic sound, seems to be 
constituted mainly of guttural and nasal sound, and 
combinations of vocality and aspiration. L, m, n, and 
r, have the highest degree of resonance. The sound of 
m is partly, and that of n, entirely nasal. R has a 
slightly guttural sound, resembling, apart from its vibra- 
tory character, w-p. The sound of Z, is intermediate 
between that of m and that of r. The vocality of b, d, 
and g, resembles that of r, but has more guttural 
depth. V, th, z, zh, have this vocality combined with 



ALPHABETIC ELEMENTS. 105 

aspiration. W and y are, respectively, partially aspi- 
rated modifications of oo-ze and e-ve. M and ng appear 
to possess the least force of the purely vocalized forms. 
L admits of the greatest ; and the abrupt subtonics are 
more forcible than n. Of the partly aspirated subtonics, 
v and z have the greatest, and w and zh, the least force ; 
in extent of aspiration, they appear to increase in the 
following gradation — w, th, v, y, z, zh. 

The subtonic r, the abrupt and the semi-aspirated sub- 
tonics, have nearly the same depth ; even w and y ac- 
cord more with the depth of w-p, than with that of oo-ze 
and of e-ve. 

The atonies vary in sharpness, appearing to increase 
at each stage of the following succession — p, th, f, t, sh, s. 

When the characteristics of expressive are adverse to 
those of articulate sound, there is, sometimes, a mingling 
of contrary qualities. The syllable ning, when pro- 
nounced with guttural quality, obtains, through its ge- 
neral nasal resonance, the least guttural depth; and 
when the monosyllable grunt is uttered with nasality, 
the nasality is combined with guttural sound. The par- 
tial resonance of m in the interior of the mouth, renders 
ming more susceptible of guttural depth than ning, as 
the guttural is more approximate to this mode of reson- 
ance than to the entirely nasal. 

The difference in literal and syllabic capacity for qua- 
lity, may be illustrated by the orotund pronunciation of 
the monosyllables eel and all, even when the depth of 



106 ALPHABETIC ELEMENTS. 

ee-l is increased by the downward curvation of the 
tongue ; * and may also be illustrated by the imperative 
utterance of sit and go. — In the latter instances, the 
sibilation of the aspirates, and the restricted extent and 
comparative shrillness of the tonic vocality, in sit, are 
as ill adapted to the requisite expression, as the depth 
of g and the fulness of o in go, are conformable to it. 
A similar pronunciation of up, shows that the tonic vo- 
cality is consonant, through its depth, with the firmness 
of purpose associated with command, but not with the 
necessary fulness of sound. When the word woe is used 
in solemn denunciation, the depth and fulness of its 
sound, satisfies the ear by rendering the expression ade- 
quate ; but when the word wail is employed for the same 
purpose, the absence of the depth of o impairs the ex- 
pression. 

The subserviency of articulation to expression is ex- 
emplified in the varied adaptation of the semi-aspirated 
subtonics, to those modes of expression in which aspira- 
tion is combined with vocality, as in the sounds of w and 
z in the reproachful utterance of weal and zeal. The 
prominent development of the nasality of m, n, and ng, 
imparts a sneering expression to the utterance, which is 
sometimes appropriately significant. The protracted 
articulation of /, in both occurrences of the word fit in 
the following lines from Paradise Lost, — 

* In imparting depth to e-ve or i-f, care must be taken not to 
change the sound into a likeness of e-nd. 



ALPHABETIC ELEMENTS. 107 

Faithful to whom] to thy rebellious crew ] 
Army of fiends ! fit body to fit head ! — 

renders the contempt embraced in the sentiment, au- 
dible. 

Articulate sounds are frequently instrumental in the 
furtherance of imitative vocal expression. In Milton's 
description of the force of Satan's voice in his address 
to his legions, most of the literal sounds are strikingly 
adapted to the audible illustration of the character of 
the voice. — 

He caZled so loud, that all the hollow deep 
Of hell resounded. 

The fell purpose of Pescara,* in conveying to Flo- 
rinda a direct image of what would be the agony of 
Heymeya at the intended torture, and his determination 
to render his words audible to her, in despite of the ob- 
stacles which she presented, are admirably aided by the 
letters ri, re, and e, in the words -' shrill," "screams," 
and " pierce," in the passage — 

" Nay do not stop your ears, for his shrill screams 
Shall pierce the solid deafness of the tomb." 

In the delivery of the following line — 

" Sound drums and trumpets, boldly and cheerfully," 
the heightening of the expression, by the conformity of 

* The Apostate. 



108 ALPHABETIC ELEMENTS. 

the sounds of the words to their imports,* may be effected 
through the sonorousness of ou in "sound," the length- 
ened vibration of r coalescing with the guttural sound 
of u in "drum," the comparatively sharper sound of 
"trumpet," produced by the aspirates in both syllables, 
and the tonic in the unaccented, the fulness of ol in 
"boldly," and the sharpness of ee in "cheerfully." 

The adverseness, as well as the conformity of articulate 
sound to significant utterance, displays the dependence 
of the completeness of expression upon the syllabic 
structure. This is evinced by the reading of 

"Pealed her loud drum, and twanged her trumpet horn." 

as no mode of utterance can render the words "pealed" 
and " twanged," exemplifications of the sounds of the 
drum and trumpet. 

As onomatopes are constructed upon the principles 
embraced in this chapter, a partial analysis of a few, 
will further elucidate the subject. The resemblance in 
these tropes, of the pronunciation to that which is sig- 

* The conformity of vocal sound to the import of language, may 
be either direct or indirect. In the figurative use of words, some 
sign, quality, adjunct, or effect, may be employed to signify the ob- 
ject itself. The same employment of signs, &c, occurs in expres- 
sive utterance. The accordance of the vocal sound, with the sound 
produced by the drum and trumpet, and with the character of the 
voice associated with boldness and with cheerfulness, presents vocal 
metonymies, denoting the musical instruments, the disposition of the 
mind, and the emotions themselves. 



ALPHABETIC ELEMENTS. 109 

nified, may arise from the prominent marking of any 
or every literal element, or the commixture of the literal 
sounds in a compact enunciation. Cr, r, and u, neces- 
sarily constitute a guttural sound ; the vibrations of r, 
united to the sounds of g and u, exhibit the characteris- 
tics of the sound denoted by the term grunt. The ad- 
ditioD of m to these literal elements, imparts a murmur- 
ing resonance to the accented syllable of grumhle. The 
absence of vibration, nasality, and aspiration, gives 
smoothness to the guttural depth of gurgle. The for- 
cible articulation of the constituents of the monosyllable 
gruff, presents the combination of guttural harshness 
and aspiration which characterizes gruffness of voice. 
The articulate action of the vocal organs in the dissyl- 
lable sputter, corresponds to the organic action in the 
production of the mode of speech signified by the word : 
the separation of the lips, the pressure of the teeth, and 
the position of the tongue, in the articulation of s, is 
the reverse of the action of these organs in the produc- 
tion of p ; which, with the different action in the articu- 
lation of u, occasions changes in organic movements, 
which are difficult in execution, and productive of ob- 
structed sound. In the word moan, the depth of o, 
freed from guttural characteristics, the soft sound of m, 
and the slight protraction of the sound of every literal 
constituent, exemplify the qualities of a moan. All the 
constituents of buz possess guttural sound; the sound 
of z is that which is signified by the term. This word 
10 



110 ALPHABETIC ELEMENTS. 

and hum, when made to resound in the chest, become 
complete imitations of their prototypes. The predomi- 
nance of aspiration in hush, produces a resemblance to 
the aspirated injunction to silence. The trilling of the 
r,* in the accented syllable of ivhirr'mg, combined with 
the sounds of h and w,"f produces the sound signified. 
Mew represents a sound incompatible with great force ; 
the literal sounds are similarly characterized. in 
growl, adds to the guttural sound of gr the fulness re- 
quisite to the significant pronunciation. The greater 
loudness required for howl, is not obstructed by guttural 
resonance, and is promoted by the sonorous fulness of 
the sound of ou-r. In shout, there is no subtonic vo- 
cality; it therefore demands a more sudden utterance 
than howl ; which, being a protracted sound, partly de- 
pends for its characteristic pronunciation upon the vo- 
cality of L The rough and sharp sound of crack and 
crash, arise from the sounds of r and a-t. The vibra- 
tory r resembles the signification of rattle ; in the pro- 
nunciation, the sharpness of a adds to the expressive 
effect of r. The audible emission of breath through the 
nose in sneezing, is represented in the word, by the as- 
piration of s in combination with the nasality of n : the 
expressive qualities of this literal combination, are fur- 
thered by the vocality of e. The sound of u is more 

* A deviation from propriety of mere pronunciation. 
| In orthoepy, the succession of these letters is the reverse, of 
their succession in orthography, being hw. 



ALPHABETIC ELEMENTS. Ill 

consonant than that of e, with the vocalized breathing 
through the nose ; thus the difference in tonic vocality, 
between sneeze and snuffle, slightly resembles the diffe- 
rence between aspirated and vocalized nasality. The 
difference in sharpness between e-ve and a-t, corresponds 
to the distinction between the sounds of creak and crash. 
The restrictive articulation of w, obstructs the opening 
of e with radical fulness in the word squeak; and the 
protraction of the restricted tonic vocality without varia- 
tion in pitch, produces the sound, squeak. The union 
of the vibrations of r with the piercing sound of e, is 
productive of shrillness, as in the utterance of shriek. 
Harsh and hoarse, as attributes of the voice, are equally 
rough in sound, but differ in depth ; the same difference 
obtains in the pronunciation of the two epithets. The 
sound represented by the word hiss, is the sound of s ; 
h renders the sibilation more forcible : the tonic adds 
nothing to the expressive qualities of s, but a deeper 
tonic would produce a humming or buzzing sound. The 
position of the lips in the articulation of to, when asso- 
ciated with the articulation of h followed by that of s, 
is necessarily promotive of whistling utterance. 

Sharp and cutting sounds, are appropriated by Dr. 
Campbell* to the English language, as a distinguishing 
characteristic. Byron describes the language as a 

Harsh, northern, whistling-, grunting guttural, 
Which we're obliged to hiss, and spit, and sputter all. 

* Philosophy of Rhetoric. 



112 ALPHABETIC ELEMENTS. 

But the causes of the harshness attributed, are fertile 
sources of expression. The strength and expressiveness 
of the language, originate in the varied character -of the 
literal elements. Harshness characterizes a portion only. 
Those "which are essentially soft, flowing, smooth, or so- 
norous, form in various degrees, the audible properties 
of phraseology, and soften the effect of occasional syl- 
labic asperity. As in music, the admixture of discords 
or dissonant intervals with the consonant, produces some 
of the finest strains of harmony, so the conjunction of 
harsh and smooth syllables in speech, imparts a pleasing- 
variety, and exempts delivery from the monotony of the 
languages, in which "not a single syllable seems un- 
couth." Thus the English language is adapted to the 
gliding stream of Ciceronian, as well as to the torrent 
of Demosthenian eloquence. — 

" Soft is the strain, when Zephyr gently blows, 
And the smooth stream, in smoother numbers, flows, 
But when loud surges lash the sounding shore, 
The hoarse, rou^h verse, should like the torrent roar." 



DIVERSITY OF STRUCTURE. 113 



CHAPTER IV. 

EFFECT OF THE DIVERSITIES OF STRUCTURE IN THE 
ENGLISH LANGUAGE, UPON THE CHARACTER OF VOCAL 
EXPRESSION. 

The diversities in the structure of the English lan- 
guage, which affect its audible character, are different 
degrees of simplicity and complexity in sentences, the 
length and arrangement of the constructive parts, and 
verbal similarity, repetition, variety, omission, and re- 
dundancy. 

Sentential simplicity, in the natural or grammatical 
order of words, is most favourable to energetic and per- 
spicuous expression. Examples of the most striking 
utterance, contain but few words, and, sometimes, but 
one. When adverbs, adjectives, and prepositional 
phrases, occur in simple sentences, and do not require 
special expression, they afford means for diversifying the 
delivery, but, in some degree, debar energy of utterance. 
In complex sentences, the amplification which renders 
written language perspicuous, often obscures the expres- 
sion; as the multiplicity of verbal sounds distracts 
attention. 

Deviations from simply grammatical arrangement, 
consist of inversion, omission, and repetition. By in- 
10* 



114 DIVERSITY OF STRUCTURE. 

version, words that demand prominence in delivery, may 
be placed in the position most favorable to the strength 
of expression ; as when the object of a verb, the predi- 
cate of a proposition, a prepositional or any other ad- 
junctive phrase, is placed first.* When an adverb is 
separated from the word it qualifies, when a verb is 
placed before its nominative,f an adjective after its 
noun, or a word is deferred unto the termination of the 
sentence, it becomes individuated ; and the expression 
acquires some of the advantages of singleness of 
utterance. 

When, in omission, the phraseology is stripped of the 
words which only syntactical construction requires, and 
of such words as are implied, the utterance is con- 
fined to essential words ; which imparts to delivery the 
effects of concentration. 

Kepetition of verbal sound, may be employed to de- 
note fulness of emotion, varied relation of the same 
idea, or change in signification.^ It may occur consecu- 
tively, or in the same place in several clauses, or at the 
termination of one clause and the commencement of the 
succeeding, or at the commencement and termination of 

* This is the grammatical order of the relatives who and which, 
when objects of the verb. 

f This applies to this disposition of the verb, whether conformable 
to its grammatical order or not. 

} Whatever may be the orthographical distinction in words, if they 
are alike in orthoepy, they constitute the same word in audible verbal 
communication. 



DIVERSITY OF STRUCTURE. 115 

a sentence. Each repetition without change in meaning, 
does not absolutely require varied pronunciation ; though 
diversity is generally more impressive than similarity ; 
but when difference of import or relation occurs, varia- 
tion in utterance is necessary. 

The construction of the hyperbaton, is formal, and 
more oratorical and poetical than colloquial ; while that 
of ellipsis, is immethodical and dialogistical. Repetition 
is both the language of passion and a rhetorical artifice. 
It may, therefore, be either a natural or an artificial 
construction. 

Different forms of these three modes of construction, 
have been variously designated by the ancient rhetori- 
cians. Some of these require, whatever may be the sen- 
timent, particular modes of expression : for example, one 
mode of inversion, the hysteron, requires the force of 
expression on the first member. The suggestive nature 
of one form of omission, the litotes, requires the rising 
slide or wave at the termination. Repetition in succes- 
sive phrases makes the other words emphatic. 

The comparative slighting of the redundant words and 
phrases in tautology, improves the audible character of 
the composition. Particularization, in the delivery of 
the concise style, imparts something of the perspicuity 
of the diffuse, and a summary utterance of the diffuse, 
renders it sententious to the ear. Defects in style, are 
less apparent, when the character of the composition is 
the reverse of that of the delivery. 



116 DIVERSITY OF STRUCTURE. 

The monosyllabic character of the Anglo-Saxon lan- 
guage, which pervades the structure of the English, by 
attaching a signification to each concrete movement of 
the voice, condenses the sentiment into the least number 
of syllabic sounds. Dissyllables, trisyllables, and poly- 
syllables, deprive the expression of the advantages of 
condensation in rapid and forcible communication. — 
But when diffusive or diversified expression is required, 
the unaccented syllables, by gliding more smoothly, or 
with less hiatus than a series of monosyllables, and by 
varying the number of concretes in the words, are pro- 
motive of the diffusiveness or diversity. 

The length of clauses and sentences has less effect 
upon the melody, than upon the intelligibility of delivery ; 
as the division effected by rhetorical punctuation, pre- 
vents the junction of too many words without pausing : 
but a succession of simple sentences containing few or 
no divisible parts, makes each punctuative division similar 
in length, and the delivery, consequently, monotonous. 
When the punctuative divisions are all short, the deli- 
very is characterized by abruptness; when long, it is 
flowing but tedious ; when they alternate irregularly and 
capriciously, they may be smoothly uttered, but are not 
musical. The music of a sentence, requires increase in 
length, and a subsequent diminution, in the divisions ; 
but this order must not be followed in every sentence, 
unless the vocal elements are varied. 



DIVERSITY OE STRUCTURE. 117 

When the number of syllables increases at each suc- 
cessive division, the delivery is more forcible and decla- 
matory than harmonious ; and when there is an observable 
regularity in the return of the divisions, there is a for- 
mality in the delivery, which is specially inappropriate 
in all utterance that should seem extemporaneous. 



118 IMPORT OF LANGUAGE. 



CHAPTER V. 

CONNECTION BETWEEN THE IMPORT OF LANGUAGE AND 
EXPRESSION. 

Expression, if it is co-extensive with conception, can 
convey neither more nor less, than the ideas of the 
speaker ; whether the conception is true or false, partial 
or complete. Accuracy of conception, and adequateness 
of expression, must embrace the relations of every ex- 
pressed thought to every accessory idea. By words 
only, little of what passes in the mind, can be repre- 
sented, and the source of expression, is mostly extra- 
neous to the accompanying words. The utterance of 
mere words in succession, is not, therefore, communica- 
tive of thought, and can only awaken the perceptions 
of the auditor ; whose comprehension of the meaning 
of the language, may be such as does not accord with 
the meaning of the speaker : or, as the delivery has 
suggested no meaning, the auditor may not be able to 
perceive any. 

Absolute sentential signification, when all ellipsis is 
supplied, is generally restricted to simple declaration, 
interrogation, or exclamation : the discriminative proper- 
ties of the absolute utterance, are determined by the 
connectives. Diversities in the delivery, are mainly pro- 
duced by the import of the context, the character, situa- 



IMPORT OF LANGUAGE. 119 

tion, and mental state of the speaker, and the purposes 
of communication ; yet the import of words, sometimes 
imparts a sense to the language which requires particular 
expressive characteristics to accompany all the modifica- 
tions of the delivery ; and, sometimes, the positive mean- 
ing of a sentence, either indicates or suggests the nature 
of the expression. 

The sentence, — " It is he " — may be uttered in every 
conceivable manner, and the propriety or impropriety, 
will not depend, in the least degree, upon the absolute 
sense of the language: but the declaration, — " I hate 
him" — is essentially incompatible with many forms of 
expression ; and the actual sense, ever requires a partial 
uniformity in utterance. So much does the expression 
depend upon the relations of the speaker, that the mean- 
ing of the language seems frequently to be derived 
from them. Thus the words, — "Again thou 'It see her," 
— in the mouth of Damas, are merely a consolatory re- 
mark, but to Melnotte, 

" There is a passion in that simple sentence, 
That shivers all the pride and power of reason 
Into a chaos."* 

Apart from the audible characteristics arising from 
verbal import, absolute and relative sentential significa- 
tion, and the circumstances of the speaker, there are 
those which are required by various figures of speech ;• — 
the ecphonesis, erotesis, hyperbole, vision, irony, climax, 
allusion, &c. 

* Lady of Lyons. 



120 DRAMATIC AND ORATORICAL ELOCUTION. 



CHAPTER VI. - 

DISTINCTION BETWEEN DRAMATIC AND ORATORICAL 
ELOCUTION. 

Difference in position, and of purpose in communica- 
tion, is the chief source of the distinction between dra- 
matic and oratorical elocution. The orator communi- 
cates directly to his audience, the actor, indirectly. The 
end of oratory, is conviction and persuasion ; that of 
dramatic representation, is elucidation, delineation, and 
personation. Expression, with the orator, is merely an 
adjunct, and never assumes the position of principal ; 
with the actor, it is the sole object ; and its relative im- 
portance requires corresponding superiority. 

The directness of the orator's communication demands, 
in order that the whole scope of expression may be per- 
ceptible to his audience, that unity in the character of 
the utterance which is incompatible with completeness 
of detail, and entireness of each component part. The 
intermediation of colloquy and soliloquy in dramatic 
communication, being promotive of circuitness of impar- 
ture, permits the extension of the delineation of every 
idea to all its relations ; which renders dramatic expres- 
sion an aggregation of consonant parts, each of which 
is, in itself, a perfect whole. But in oratory, the ex- 



DRAMATIC AND ORATORICAL ELOCUTION. 121 

pression consists of parts which are essentially of a con- 
stituent character, and the primary idea is generally the 
sole object of expressive development. The character 
of oratorical expression changes with the general turn 
of the sentiment, or rather, as the character of the dis- 
course varies. It, therefore, varies less in detail than 
the dramatic, and does not embrace the same extent of 
variation. The partial character of its development, 
renders it more suggestive than representative ; and 
better adapted to the presentation of signs and symbols, 
than the form and semblance of ideas. 

The form of dialogue or soliloquy, is subordinate to 
the ultimate design of dramatic representation; — the 
character of conversation or self-conference, must not be 
preserved at the expense of elucidation and illustration ; 
— while the orator acts, as the actor would, if his com- 
munications were confined to the other persons of the 
scene. 

The emotions of the actor, are such as are produced 
by the events of life ; those of the orator, such as arise 
from the contemplation of sentiment. 

Beside these distinguishing properties, the actor's ex- 
pression is modified by various circumstances occurring 
in the scenes, which can never happen to the orator. 
His expression of sentiment must be conformable to the 
character represented, and the modifications of senti- 
ment arising from the nature of the character, must be 
duly developed. When the orator's emotions impart 
11 



122 DRAMATIC AND ORATORICAL ELOCUTION. 

sufficient earnestness to his manner to awaken the sym- 
pathies of his audience, his end is attained. The actor's 
impassioned delivery should represent the appropriate 
mental state of the character, without regard to the 
effect upon the audience. Consequently, while the cha- 
racter and circumstances of the audience are generally 
disregarded by the actor, the expression of the orator 
must be adapted to them. 

Dramatic orations partake of the character of dialogue, 
in form, language, and expression ; but with something 
of the elevation and formality of style which in real life 
distinguish oratory from conversation. 

When the dialogistic character of oratorical scenes is 
preserved, they become artificial, and, if not illustrative 
of character or a requirement of the scene, inappropriate. 
The speech of Brutus on the death of Csesar,* is de- 
signedly and necessarily inferior to that of Antony ; for 
this reason, its artificial construction and forced antithe- 
ses are appropriate : as their unfavourable contrast 
with the natural and unlabored language in which Antony 
masks his insinuations, accord with the requirements of 
the occasion. 

* Shakspeare's Julius Caesar. 



EMPHASIS. 123 



CHAPTER VII. 

EMPHASIS. 

As variation of the vocal elements in extent and 
manner of application, is ever occurring in their discri- 
minative employment, extension of pitch, volume, quan- 
tity, and change of quality, cannot, themselves, con- 
stitute the import of a term, which is indicative of a 
special fact in oral language. 

The restriction of the term emphasis to comparative 
force of utterance, and the ampliation of its meaning by 
including denotement of emotion, development of syn- 
tactical connection in obscure constructions, and the 
manifestation of the sense of elliptical sentences, would 
render its purport so vague, and its use so indiscriminate, 
that emphasis would cease to be a distinctive constituent 
of expression, and become confounded with every acci- 
dent of the voice. Yet the definitions given by writers 
on elocution and rhetoric, generally accord either with 
the limitation or amplitude of meaning here presented. 
But, fortunately, the object of emphasis, has been com- 
prehended from its occurrences in speech, rather than 
through the explanations of writers. Pathognomy, in- 
terrogation, calling, commanding, denying, &c, often 
require what are, by some, considered the constituents 



124 EMPHASIS. 

of emphasis, when not an emphatic word occurs ; though 
"high powers of stress, extreme length of quantity, wide 
"intervals of pitch, and a peculiar quality of the voice," 
may "be set on certain words"* in these instances, yet 
these do not render the words emphatic, as the vocal 
prominence is not associated with the special import of 
language, but with the purpose of communication ; and, 
if mere difference in degree of force or any other con- 
stituent of expression, cannot be considered denotative 
of emphasis, because it would render "half of the words 
of language emphatic," vocal prominence itself, cannot 
be emphasis. Imitative expression may frequently be 
associated with a single word in a sentence, and it may 
distinguish the word from all others : but as this expres- 
sion has reference to the absolute import of the word, 
without regard to the sentential, it communicates no spe- 
cial significance ; if the conspicuousness in utterance, 
renders the word emphatic, emphasis is not dependent 
upon the sense of the language. The partially interro- 
gative intonation, in an indirect question, may consist 
of wide concrete pitch on one or two syllables, and a 
diatonic melody on the remainder ; yet the word or words, 
associated with wide interval of concrete pitch, are not 
deemed emphatic. 

These examples of vocal prominence without emphasis, 
show the reason, why " the point in the respective gra- 
dations of these powers," (stress, quantity, pitch, qua- 

* Rush. 



EMPHASIS. 125 

lit j,) at which " the emphatic character begins, cannot 
be assigned : " * no such point exists. 

Walker's explication of emphasis, presents a clear and 
definite view of its purpose. In accordance with the 
principles laid down by him, emphasis may be defined 
the development and enforcement of antithesis solely. 
This definition, doubtless, appears too narrow, for those 
who think that " emphasis is nothing else than expres- 
sion concentrated and condensed into an accented syl- 
lable," f and for those who do not conceive its com- 
prehensiveness. 

Locke observes, that " knowledge is the perception of 
the agreement or disagreement of two ideas." According 
to this, the decisions of the intellect, must arise from the 
comparison or contrast of ideas, and must be the inclu- 
sion of some relations and attributes, and the exclusion 
of others. To conceive justly the meaning of language, 
is to ascertain which of the properties of associated 
ideas are embraced in the connection of thought, and 
which are excluded. 

Though language is susceptible of varied meaning, 
yet the fundamental import must be unchangeable ; for 
if this vrere not fixed, language would be meaningless. 

The particular modification of the fundamental im- 
port, or the particular relations with which this import 
is associated, must be determined in expression. The 
association, in the mind, of those contingencies and re- 

* Rush. t Murdoch and Russell's Orthophony. 

11* 



126 EMPHASIS. 

lations which give the essential meaning its special ap- 
plication, with the fundamental idea, and the exclusion 
of those which are incompatible with the intended mean- 
ing, constitute an antithesis in thought ; the development 
of which, in utterance, is emphasis. 

If this is a correct and complete exposition of emphasis, 
this instrument of expression is merely determinative of 
the special application of language, and is unconnected 
with the general import. It is, therefore, not a mani- 
festation of sentiment, emotion, nor purpose of com 
munication, whether the delivery is impassioned or di- 
dactic, declamatory or simply declarative. 

Though the object of emphasis, is to show which is, 
not what is the meaning, yet it necessarily supplies the 
place of words, and prevents circumlocution. But, in 
supplying the place of words, it cannot embrace every 
inferential idea, but merely the contrary of that repre- 
sented by the emphatic word. 

Misconception of the purport of emphasis, has led to 
the most extravagant ideas on the subject. It has been 
made to embrace almost the whole of vocal expression ; 
and Sheridan has made it denotative of even more, than 
what he has assigned to vocal expression itself. He 
affirms that vocal expression is not a language of ideas, 
and yet asserts that an emphasis on the conjunction 
"and" in these lines of Tamerlane — 

Can'st thou believe thy prophet, or, what's more, 

That Power Supreme, that made thee and thy prophet? — 



EMPHASIS. 127 

contains the following meaning : — " This prophet whom 
thou worshippest, and to whom thou payest the chief 
honors, was only a creature like thyself; made by the 
same Almighty Being, and subject to the same laws."* 

Amongst the misconceptions of emphasis, is to regard 
it as a mere arbitrary distinction. In accordance with 
this view, Blair cautions the speaker, against " multiply- 
ing emphatical words too much": when the number of 
emphatic words, no more depends upon the caprice of 
the speaker, than the number of accented syllables. 
Another writer renders emphasis absolute, by making 
all adjectives emphatic. 

The application of these diversities of emphasis, would 
both confuse and pervert the meaning of language. The 
skilful elocutionist, by ever requiring an antithesis, either 
expressed or implied, in emphasizing words, phrases, or 
clauses, avoids all perplexity in regard to the position 
of emphasis, and prevents ambiguity in sentential 
import. 

Emphasis in the abstract, does not require any parti- 
cular combination or execution of the vocal elements, 

* The error of Sheridan consists in making emphasis denote more 
than expression, rather than in misrepresenting it ; though its signi- 
ficant power is exaggerated. His complex emphasis presents an ex- 
ample of a wider departure from the real purpose of emphasis, and? 
like the absolute emphasis of Knowles, the interjective and the ellip- 
tical emphasis and the emphatic tie of Rush, the specifying and the 
enumerative emphasis of others, as such, is no emphasis at all. 



128 EMPHASIS. 

except the direction of the inflection. However the 
vocal elements may be diversified, in regard to extent, 
mode of execution, and combination, in emphasis, the 
diversities belong to the character of expression solely. 
Whatever serves to mark the word or words that should 
be emphasized, even a diminution of volume, quantity, 
or pitch, or a change to a less striking quality, is expres- 
sive of emphasis ; but should not be considered a quality 
of it. In the current of delivery, words are sometimes 
so distinguished, that they might be deemed emphatic, 
if their conspicuousness did not arise from other sources ; 
as speciality, allusion, designation, without contradistinc- 
tinction, &c. 

Antithesis, in relation to emphasis, comprises affirma- 
tion, negation, priority, preferableness, superlativeness, 
addition, admissibility, in connection with contrast and 
distinction. Sometimes the emphasis does not control 
the inflection. When the language implies interrogation, 
contingency, doubt, conditionality, the inflection of the 
emphatic word .accords with the current of expression, 
whatever may be the character of the emphasis ; that is, 
the rising slide or inverted wave, occurs, where, if the 
language were positively declaratory, the falling slide or 
direct wave would be necessary ; * as 

Lady Macbeth. " Would'st thou have that 

Which thou esteem'st the ornament of life, 

And live a coward in thine own esteem V 

* This refers to mode of concrete pitch on the accented syllable 
solely, if the word is not a monosyllable. 



EMPHASIS. 129 



Macbeth. " If it were done, when 't is done, then 't were well 



It were done quickly." 
Richelieu. " He a king, 



You — woman ; well, you yielded.'''' 



u 



Shyloch. " And thrift is blessing", if men steal it not." 

The following rules and examples, except the last, 
illustrate occasions, when the emphasis determines the 
direction of the vocal inflection, if the direction is not 
incompatible with the current of expression. — 



1. 

The affirmative power of the antithesis, requires the 
falling slide or direct wave, and the negative, the rising 
slide or inverted wave ; whether one or both parts of the 
antithesis are expressed. 

Macbeth. " We have scotched the snake, not killed it." 

Macbeth. "And take the present horror from the time, 
That now suits with it." 

Malcolm, " Be not offended ; 

I speak not as in absolute fear of you." 



The word or words with which priority, preferableness, 
superiority, or inferiority, is associated, are pronounced 
with the falling slide or direct wave. When the relative 
part of the antithesis is expressed, the rising slide or in- 
verted wave, is required. 



130 EMPHASIS. 

Othello. " No, Iago ; 

I'll see, before I doubt." 

Brutus. " I had rather be a dog and bay the moon, 
Than such a Roman." 

King Claudius. "A very riband in the cap of youth." 

Hamlet. " A vice of kings." 

3. 
Words that have a superlative import, demand the 
falling slide or direct wave. 

Macduff. " Up, up and see, 

The great Doom's image." 

Whenever this slide or wave is required, the emphasis 
may be called superior ; and whenever the contrary, it 
may be called inferior : as the former denotes inclusion 
in the affirmation, whether of preferableness or priority, 
superfluousness or addition, &c. ; the latter, exclusion 
from it. 

4. 

When something remarkable or specific is affirmed of 
an additional subject, the superior emphasis should be 
employed on the additional subject, the inferior, on the 
original. 

De Beringhen. " Fact in philosophy. Foxes have got 
Nine lives, as well as cats.'''' 

5. 
The admission of something understood or evident, 
and the denial of something important, is a form of anti- 



EMPHASIS. 131 

thesis, in which the negative part constitutes the superior 
emphatic member ; as this part may be deemed an affirm- 
ation of negation — although the phrase literally involves 
a contradiction in terms. 

King Claudius. " Where 't is so, the offender's scourge is weighed, 
But never the offence.'''' 

6. 
Addition with distinction, demands the superior em- 
phasis. 

n 
Desdemona. "And have you mercy, too ! " 

7. 
When the affirmation does not exclude the correspon- 
dent antithetic object, the inferior emphasis is required.* 

Macbeth. " I see thee yet, inform, as palpable 
As this, which now I draw." 

8. 
Emphasis requires the transposition of accent in 
paronomasia. 

Wilford.\ " He conquered all the world, but left wnconquered, 
A world of his own passions." 

* This is a peculiar application of the inferior emphasis, and ap- 
parently, an exception to its general use. Form is excluded from 
the emphatic affirmation, though its palpability is asserted. But the 
special reference in the mind, is to the real palpability, which is 
neither asserted nor denied. The falling slide on form would be a 
virtual denial of the real palpability; and that which is evident needs 
no enforcement in declaration. 

f The Iron Chest. 



132 EMPHASIS. 

These rules exemplify the extent of the controlling 
power of emphasis ; which is evidently too limited, to 
embrace even a considerable part of the " rules of elo- 
cution ; " although it has been declared that emphasis 
controls every rule. 

The nature of emphasis may be further elucidated, 
by contrasting it, with some of those instances of vocal 
prominence which occur in the manifestation of some 
particular intention of the speaker. The italicised 
words in the succeeding passages, are necessarily promi- 
nent in utterance, through the presentation of the allu- 
sion, speciality, and designation, respectively intended. 

Lady Macbeth. " He that 's coming, 

Must be provided for." 

Alvarez, (to Hemeya). " Thou art a Moor, thy nation is a slave, 
And though from Moorish kings thou art descended, 
The Christian spurns thee." 

Bertram, {to Imogen). "A despot's vengeance, a false country's 
curses, 
The spurn of menials whom this hand had fed, 
In my heart's steeled pride I shook them off." 



PUNCTUATION. 133 



CHAPTER VIII. 



PUNCTUATION. 



The term pausing, as applied to speech, does not de- 
note strictly a mere cessation of the voice ; as the inter- 
ruption of syllabic sound, is necessary to prevent con- 
tinuance of sound and indistinctness of syllabication, 
and as a longer pause than that which divides syllables, 
is indispensable to the separation of words. Yet neither 
intersyllabic nor interverbal pauses, are included in 
punctuation. 

Length of duration does not constitute the cessation 
a punctuative pause ; as in rapid delivery, many of the 
short pauses are not as long as interverbal cessations, in 
slow and solemn utterance. 

Proportionate duration is, therefore, the source of the 
expressive import of pauses. Sheridan denies the ne- 
cessity of regarding due proportion of time, and deems 
it scarcely practicable by the speaker, and obstructive of 
a full comprehension of the meaning of language to the 
hearer, through the distraction of the attention by the 
measurement of the duration. This is a confounding of 
the means with the end. The sense of the language, 
enforces the proper relative duration, through the natural 
influence of thought on expression, without requiring a 
12 



134 PUNCTUATION. 

nice and cautious regard to the length by the speaker : 
and the hearer's attention is not directed to the means, 
by which the import of language is developed, but to the 
meaning conveyed ; which is manifest to him, whether 
he has noted the pauses or not, in the same manner that 
the essential significance of pitch and force, is evident 
to him, without measuring intonation, or ascertaining the 
form of stress. 

The necessity of observing proportionate duration, is 
evinced by making a long pause at the termination of 
the first line of Catesby's reply to the horror-stricken 
Richard, and a short one at the word Lord in the same 
line. — 

"Richard. Who's there? 

Catesby. 'T is I, my Lord ; the early village cock — 
Has thrice done salutation to the morn." 

This punctuation would tend to excite laughter. 

A long pause at much, and a short one at head, in 
Richard's exclamation — 

"Off with his head, so much — for Buckingham," 

would be equally ridiculous. But in both these instances, 
appropriate intonation renders the absurdity less apparent. 
Pausing is the time for portraying thought and the 
state of the mind, without the instrumentality of words. 
Combe the phrenologist, instances the long pauses in the 
elocution of John Kemble and Mrs. Siddons, in which 



PUNCTUATION. 135 

the audience saw the mental state prolonged over the 
whole interval, as examples of continued feeling. 

The greatest actors that have trod the English stage, 
have employed long pauses as one of the most effective 
means for producing the most striking effects, and for 
elucidating character and sentiment. Quin sometimes 
paused so long that his audience was in doubt whether he 
intended to proceed or not. Some critics censured the 
long pauses of Garrick. Kean's were also condemned. 

The misuse of long pauses, is a just subject for critical 
animadversion ; but their effectiveness will ever justify 
their employment, when not inconsistent with character, 
situation, or sentiment. 

" When from Nature's pure and genuine source 
These strokes of acting flow with generous force, 
When in the features, all the soul 's portrayed, 
And passions such as Garrick's, are displayed, 
To me they seem from quickest feelings caught, 
Each start is Nature, and each pause is thought.'' 

General principles only, particularly in dramatic elo- 
cution, can define the application of pauses, which is too 
circumstantial to be determined by special rules. The 
principle advanced by Sheridan, that pauses in general 
depend upon emphasis, or the linking of words related 
to the emphatic word, and the separating of others, 
affords a basis for the punctuation required by the sense, 
without regard to the diversities produced by character, 
emotion, structure of the language, situation and circum- 
stances of the speaker. 



136 PUNCTUATION. 

Petulant and irritable characters, require short and 
abrupt stops; — aged characters, long pauses: as the 
latter demand cessations of the voice at the end of words 
■which are as long as pauses in other characters. Another 
example of characteristic punctuation, is afforded by the 
stops which, 

" In a false disloyal knave, 
Are tricks of custom." 

The trepidation of De Beringhen, causes him to pause, 
or rather breaks the current of his speech two or three 
times in his simple congratulatory remark to Richelieu — 
"you are most happily recovered." The position of the 
word "month," in the following answer of Huguet to 
Richelieu, — 

"A triple wall, — 

A drawbridge and portcullis — twenty men — 
Under my lead, a month might hold that castle 
Against a host", — 

renders it liable to be mistaken in delivery, for the nomi- 
native to the succeeding verb ; a pause is therefore ne- 
cessary, to separate it from the auxiliary "might" : but 
if the phrase, "a month," were placed after "castle," 
it could be united in delivery with the phrase from which 
its position requires it to be separated. 

All situations in which the speaker dreads to commu- 
nicate his thoughts, are distinguished by interruptions of 
the voice which break the connection of language formed 
by the sense and syntax, as King John's prompting of 



PUNCTUATION. 137 

Hubert to murder young Arthur, and Richard's suggest- 
ing of the death of the young princes to Buckingham. 
And among those circumstances which determine the 
length or number of stops, may be named those inter- 
ruptions which arise from the presence or actions of other 
persons in the scene, and from occurrences that demand 
the immediate attention of the speaker. 

The application of pauses, is so intimately connected 
with the process of thought, that the grammatical rela- 
tions of words is only a secondary consideration. Yet 
as the relations of thought depend in a great degree 
upon the syntactical dependence of w T ords, for their de- 
velopment, this dependence should not be disregarded in 
punctuation. 

The general absence of inflections in the English lan- 
guage, requires juxtaposition of syntactically dependent 
words ; which promotes junction in utterance. Although 
the prominence in the mind of a part of a clause, or 
sentence, or the subordination of every part to the 
whole, may lead to the separation of words grammati- 
cally related, or the connection of those which are not, 
yet it rarely occurs that a word not emphatic, is sepa- 
rated from another to which it is united by position and 
syntax, and joined to another to which it has no syntac- 
tical connection ; unless it is united to a phrase which 
has the import of a dependent part of speech, or the 
connected words have the same grammatical construc- 
tion, or a predicate is united to the verb. 
12* 



138 PUNCTUATION. 

Words without connection, do not represent thought ; 
hence, the utterance of a word without the word or 
words upon which it is grammatically dependent, leaves 
the sense and structure incomplete, not only as a whole, 
but as a part. The connecting of words having no 
grammatical relation, produces an unintelligible jumble. 
The division of dependent words is admissible, when one 
or both of them are united to others, for the purpose of 
presenting some shade of thought for abstract contem- 
plation. When the grammatical order of words is in- 
verted, those become united in the structure, which are 
not associated in the sense ; this renders pauses more 
frequent in inverted, than in grammatical collocation. 

Some parts of speech are so inseparably connected 
with others, that, though they are immediately succeeded 
by unrelated words, the mental demand for the dependent 
word, carries the voice onward to the succeeding word. 
Such is the connection between the article and the noun ; 
the preposition and the noun, pronoun, or participle, 
which it governs ; and between the noun or pronoun in 
the possessive case and its governing noun. 

The relation of pauses to syntactical dependence, is 
ably treated of by Walker ; but numerous exceptions to 
his principles and rules of rhetorical punctuation must 
occur; exceptions arising not only from variations of 
sentiment, but from the varied character of phraseology ;* 
as in the following instances. — 

* " Cooke," observes a writer, "frequently tramples down all scho- 



PUNCTUATION. 139 

The unity of a compound sentence, or the greater or 
less connection of the parts, according to the introduc- 
tory or conclusive character of the former and the modi- 
fication or additional character of the latter parts, and 
the degree of simplicity or complexity, may generally 
determine the relative length, in didactic delivery, of 
the pauses which distinguish the constructive parts of 
sentences. But this is greatly modified in the diversi- 
ties of expression, and some of the minor pauses, are 
sometimes disregarded. 

Whenever the clause or phrase, intervening between 
the nominative and the verb, is of a determinative cha- 
racter, the meaning is best developed by the conjunction 
of the determinative clause or phrase with the nomina- 
tive, as — 

"The labor we delight in — physics pain." 

If words placed between the verb and its object, par- 
take of an adverbial import, they should be associated 
with the verb ; as — 

"I took by the throat — the circumcised dog." 

So close is the connection between a verb and its ob- 

lastic rules ; the ordinary stops and the whole doctrine of punctua- 
tion, seem, at times, to be but the sports of his genius : hurried on 
by Nature, he wings his way over the impediments which check and 
fetter common formalists in speech, and in doing so, infuses into the 
meaning of the words a subtilty of sense and an energy of expression 
truly astonishing." — Mirror of Taste, vol. iv. 



140 PUNCTUATION. 

ject, that the mind demands the object on the utterance 
of the verb ; this renders a pause after a transitive verb 
apparently artificial ; even when required by the sense ; 
as in the sentence — 

"You lack — the season of all natures — sleep." 

Yet when other words are conjoined with the verb, a 
pause generally occurs before reaching the object ; as, 

" I have done the State — some service." 
In the italicised clause in the following passage, — 

" Besides, it should appear, that if he had 
The present money to discharge the Jew, 
He would not take it," — 

the words occurring between the two verbs, are not 
separated from the latter, although this verb is in the 
infinitive mood. 

When several successive words have a similar gram- 
matical relation to a single word, their equal dependence 
should be developed. This may be done, either by sepa- 
rating all of them from the word upon which they de- 
pend, or by uniting all of them to it. For, if one is 
united, and the others are separated, their connection 
will not, to the auditor, appear equal. The phrase, " a 
violent and ungovernable passion," may, according to the 
general usage of the language, denote a passion which 
is both violent and ungovernable, or two passions, one 



PUNCTUATION. 141 

of which is violent, the other, ungovernable. A pause 
at violent, would be instrumental in assigning the cha- 
racteristics denoted by the adjectives to different pas- 
sions, and the omission of this pause ; would be an ascrip- 
tion of both characteristics to one passion. 

Walker does not deem equality of dependence, a rea- 
son for the insertion of a pause ; and in confirmation of 
this view, asserts the inseparable nature of the connec- 
tion between the adjective and the noun, when the former 
precedes the latter, whether the adjective is a part of 
a series or not, and the inseparableness of a nominative 
unconnected with adjuncts from its verb, when other 
verbs are connected with it, as the nominative which is 
understood before each of them. 

Walker thinks a pause inadmissible between a noun 
and the adjective immediately preceding it, because, as 
a modifying word, the adjective "gives the mind no ob- 
ject to rest on." If this were a sufficient reason for 
uniting the immediately preceding adjective to its noun, 
it would be sufficient to prevent a pause after any adjec- 
tive in a series placed before the noun. "Violent," in 
the phrase referred to, when isolated, no more gives the 
mind an object to rest on, than "ungovernable" would; 
yet Walker allows a pause at "violent," to "distinguish 
it from ungovernable" ! If this reason were tangible, as 
regards the adjective and noun, it would also require the 
conjunction of the adverb with the verb, if it should 
precede the verb ; but this disposition of these parts of 



142 PUNCTUATION. 

speech, is more compatible with an intervening pause, 
than the reverse order. 

The connection between the adjective and the noun 
in what is called the inverted order, is not so intimate as 
in the natural order, nor of the same character. The 
precedent adjective, invariably belongs to the noun, and 
is as closely connected with the noun, as with any word 
through which its own import is modified. The suc- 
ceeding, forms frequently a part of an elliptical phrase, 
and belongs to a pronoun understood ; as in the following 
clause, — 

" There 's nothing serious in mortality." 

The completion of the structure, — " There is nothing 
that is serious in mortality" — shows the syntactical 
construction of "serious." Again, the adjective which 
follows the noun, is sometimes more closely connected 
in sense with the succeeding phrase, than with the word 
to which it syntactically belongs ; as, 

"And his great love, sharp as his spur." 

Though the connection of adjective and noun in the 
inverted order, is indirect and subordinate, in comparison 
with their connection in the natural order, yet Walker 
deems them equally inseparable, unless the succeeding 
adjective is one of a series. But, though the precession 
of the adjective is attended with so close a connection, 
and though in general speech, the adjective thus placed 
is conjoined to the noun, not only when it is single, but 



PUNCTUATION. 143 

when it is a constituent of a series divided by one or 
more pauses, yet the development of the construction of 
one adjective in a series, is no more necessary, than the 
development of the construction of another ; and dissi- 
milar association is incompatible with the same depen- 
dence, when adjectives precede, as well as when they 
succeed a noun. The constituting of a class by them- 
selves, the reason assigned by "Walker for separating the 
first of a series of succeeding adjectives from the noun, 
is not an adequate cause for the distinction thus drawn 
between a series of preceding and a series of succeeding 
adjectives ; as phraseology is not an aggregation of the 
same or of different parts of speech, but combinations 
arising from dependent relation. And as the same parts 
of speech in succession, unless they are adverbs, or a 
noun in the possessive case and its governing noun,* can 
have no syntactical dependence Upon one another, punc- 
tuation should be used for the purpose of dividing, 
rather than uniting them. 

The dependence of several verbs upon a single nomi- 
native, like that of several adjectives upon a noun, is 
not compatible with the conjunction of the nominative 
and the verb which are conjoined in position; for the 

* To these exceptions, the verb in the infinitive mood, and the 
verb of which it is the nominative or objective, might be added. 
But the verb in the infinitive mood, so far as it relates to the other 
verb, has the construction of a noun. 



144 PUNCTUATION. 

same reason that the contiguous adjective must be sepa- 
rated from the noun. 

The separation of words intimately associated, does 
not accord with customary speech ; which, when the con- 
nection of words is close, hurries the voice onward : but 
elocution demands the observance of those precise ana- 
lytical pauses which develop verbal relation. 

The propriety of a pause for showing the " equal re- 
lation of words, even when the words separated are most 
intimately united," is manifest, by the pause required 
between the words "to" and "themselves" in the 
sentence — 

"To suppose the zodiac and planets efficient of, and antecedent 
to themselves, would be absurd." 

Emphasis itself, does not require a pause after "to" 
and even according to Walker, one object of a pause at 
of and at to, is to show the equal relation of these words 
to the word "themselves;" although this declaration is 
contrary to his own principles. 

Whatever causes may diversify the character of punc- 
tuation, the pauses required by the sentiment, must ever 
be most prominent, unless the other pauses are in- 
terruptive. 

All peculiarities attending pauses required by the 
sense, and the number and length of all other pauses, 
must be associated with the character of the delivery, 
rather than with the language. 



PUNCTUATION. 145 

The pauses required by the sense, and those required 
by the character of the utterance, are sufficient to pre- 
vent all difficult continuation, and render the interven- 
tion of pauses for the sole purpose of affording rest to 
the voice, needless. 

Rhythmical pauses, being partly dependent in length 
and number, upon the quantity of syllables, the number 
of unaccented syllables and monosyllables, (as imperfect 
measures must occur, and their time is consequently 
completed by pauses,) cannot always accord with the 
sentiment, which is subordinate to the rhythm. A con- 
formity of the length of pauses to the characteristic time 
of utterance, is demanded in truly expressive delivery ; 
(though expression sometimes requires disproportion); 
but this is an accordance of the time of pausing with the 
sense, and not with the melody. 

The proper position and number of pauses is not only 
necessary to prevent the confusion by which phraseology 
is rendered meaningless, but also to prevent a meaning 
which does not accord with the context. The varied 
import of which language is susceptible through varied 
punctuation, may be illustrated by the following examples : 

" To die — to sleep — no more. 17 
"To die — to sleep no more." 

"Signor Antonio, many a time and oft — 
In the Rialto, you have rated me." 
1 Signor Antonio, many a time — and oft 
In the Rialto, you have rated me." 
13 



146 PUNCTUATION. 

Churchill writes — 

"When reason yields to passion's wild alarms, 
And the whole state of man is up in arms, 
What but a critic would condemn the player 
For pausing here, when cool sense pauses there?'' 1 

But whatever may be the number, length, and place 
of the pauses, occurring in the expression of the abrupt- 
ness or rapidity of passion, the meaning of the language 
should be manifest. 

This accordance of the meaning with the diversities 
of pathognomical punctuation, arises from the fact, that 
the lengthening of necessary pauses, renders the intro- 
duction of short pauses, in some places, ineffective of 
any modification of the sense, and the fact that the 
shortening of pauses is also ineffective of any variation 
of meaning, so long as the comparative length is un- 
changed. — 

Instances must nevertheless occur in the delineation 
of the throes of passion, in which the breaks in the 
voice, occasion a disruption of the connection of lan- 
guage, and consequently, to some extent, confuse the 
meaning. 

If the following passage should be read with the 
pauses indicated by the mark *] , as well as those indi- 
cated by the grammatical points, improper association 
and disjunction, perverting and confusing the meaning, 
would be manifest. The impropriety of the punctuation 
results from the disregard of the connection formed by 



PUNCTUATION. 147 

the sense, syntax, and the dependent relation of words 
and phrases. — 

" Heaven make ^ thee free ~j of it. I follow *"] thee. 
You, that ~j look *j pale, and tremble *] at this chance 
That M | are but mutes *"] or audience to this act, 
Had ""] I but time, (as this *"j fell sergeant death, 
Is strict ~j in his arrest,) oh ! I could ""j tell you — 
But, let ""I it be. — Horatio, 
Report me *] and my cause aright 
To the unsatisfied." 

The following punctuation of this passage, being 
founded upon all the relations of the words and phrases, 
is in accordance with the sense of the language, but not 
the condition of the speaker, Hamlet. — 

The proportionate length of the pauses, is denoted by 
the number of marks. 



" Heaven make thee free of it, ""ITfj I follow thee. "J", , 
You, "j"j that look pale,'"p] and tremble at this chance, ~pn 
That are but mutes or audience *j to this act, "fTI 
Had I but time, *pj (as this fell sergeant *"] death, *] 
Is strict in his arrest), ~p] oh ! **j I could tell you — ~["fTl 
But, *j let it be. ~-jT, Horatio, *f| 
Report ""j me and my cause ""j aright *|*| 
To the unsatisfied." 

Though this punctuation agrees with the sense of the 
language, yet Hamlet's agony and convulsions during 
the delivery, cause interruptions of the voice, and pro- 
tractions of pauses, which exhibit a wide departure from 



148 PUNCTUATION. 

it. The following is more consonant with the required 
expression : — 

"Heaven Tfj make thee "pj free "J of it, ~fift] l T\ follow 1 
thee. TmTm 
You, *pj that look ~j pale, Tfj and tremble *] at this chance, 777] 
That are *j but mutes Tj or audience 7n to this act, 7TT1 
Had I *j but time, 7"p] (as this "j fell sergeant 7*j death, 7"] 
Is strict *j in his arrest), 7fj oh ! ^"pj I could "j tell you — TTITi 
But, 71 let it *| be. TITTTTI Horatio, *| 
Report 71 me and my *"] cause 7TI aright Tf] 
To the *|un"] satisfied." 

Beside those peculiarities of pausing which are ap- 
propriate to personal characteristics, there are pauses 
which indicate certain dispositions of the mind, which 
are developed by situation and circumstances, rather 
than portrayed in general conduct, although distinctive 
and predominant traits of character. Among these dis- 
positions, are cautiousness, deliberation, timidity, hesita- 
tion, dissimulation, and craftiness. The speaker respec- 
tively develops these dispositions, by pausing to weigh 
the consequences of words or declarations, by pausing to 
weigh the meaning, by breaking the continuity of utter- 
ance, by stopping through partial conviction, by pausing 
to veil the meaning or to render it equivocal, and by 
pausing to insinuate what is neither declared nor 
concealed. 

The character of Loredano in Byron's Two Foscari, 
presents, if properly represented, a remarkable example 



PUNCTUATION. 149 

of the employment of pauses which are associated with 
disposition of mind. The innuendoes, dark intimations, 
unfeeling allusions, callous replications, indirect accusa- 
tions, which abound in this character, are not expressed 
with the unequal waves, intervals of pitch, aspiration, 
guttural quality, and reduced falsette, which are used in 
the expression of similar sentiments in other characters. 
Loredano is not open in language or expression, yet he 
does not seek to conceal his thoughts. The expression 
which would render his meaning apparent, he does not 
employ, but uses rather that which obscurely intimates 
it. The partial imparture of his thoughts by the lan- 
guage, requires the expression to add meaning to every 
word. This is done, either by pauses which centre atten- 
tion upon an abruptly disconnected word, or the prolonga- 
tion of those pauses which mark the rhetorical subdivi- 
sions of a sentence. This prolongation individuates a 
subdivision, by apparently extracting it from the body 
of the sentence. And the prolonged pauses not only 
render words and phrases prominent, but afford opportu- 
nity for visible exposition. 

Although the expression of Loredano does not present 
an express image of his thoughts, it is unmistakeably 
suggestive. Every word is sent to the soul of his scenic 
auditor, not by startling utterance, but by what may not 
be improperly denominated vocal probing. This renders 
frequent pauses necessary to the conveyance of his 
entire meaning. This expression fills up the chasms in 
13* 



150 PUNCTUATION. 

the language, and preserves the connection of the 
sense. 

The dash in the following passages presents examples 
of the pauses which have been referred to : — 

Loredano, (to the Doge). "True, in my father's — time, I have 
heard him 
And the admiral his brother, — say as much. 
Your highness — may remember — them ; they both 
Died — suddenly." 

Doge. " What should I think of mortals ? " 
Loredano. " That they have mortal — foes." 

Loredano. "I never yet knew that a noble's life 
In Venice, had to dread a Doge's frown; 
That is by open — means." 

The principles of punctuation which have been un- 
folded, show that beside dividing language into its relative 
component parts, pauses may be employed in the mani- 
festation of personal characteristics of utterance, and 
the state and disposition of the mind: but even this 
does not embrace all the purposes of punctuation, as 
there are special ends attained by pausing, which have 
reference to the meaning of language solely; although 
the pauses are employed sometimes in the same manner 
as those used for elucidating mental disposition or action. 

Extension of volume, quantity, or pitch, in emphasis, 
may sometimes be so incompatible with the general tenor 
of the delivery, that it would destroy the character of 
the utterance; and when the expression is deliberate, 



PUNCTUATION. 151 

particularization of words and phrases by individuation, 
is more effective of the end in view through emphasis, 
than vocal prominence. Antithesis under these circum- 
stances, should be developed by pauses, which, from the 
purpose of their employment, may be denominated 
Emphatic. 

EXAMPLES. 

Brutus. " Yea madam, for just then my foot did slip 
In the fresh blood of a new slaughtered victim, 
And, falling, I did kiss my mother — earth."* 

Othello. " Then must you speak 

Of one that loved, not wisely, but too — well." 

Adrastus. "Let them blast me — now." 

Occasionally a pause is employed, which adds to the 
meaning of the word or words with which it is associated, 
some particular contextural reference, or intimates more 
than is contained in the sentential import. This pause 
may be entitled Suggestive. 

EXAMPLES. 

Iago. " Nay but be wise, — yet we see — nothing done." 

This pause conveys an allusion to the demand of 
Othello for "ocular proof." 

Virginius. Out with it! I have — patience 
For anything, since my Virginia lives. 

Here Virginius alludes to the request of Lucius — 
" Hear me with patience." 

* Payne's Tragedy of Brutus. 



152 



PUNCTUATION. 



Most of the expressive pauses required in the repre- 
sentation of Loredano, are suggestive. That at "remem- 
ber," in the examples which have been given, intimates, 
— "Your highness may not only, simply remember 
them, but may have that recollection of them which 
arises from a consciousness of your conduct towards 
them." 

When the utterance is delayed for the manifestation 
of the mental state, or the delay arises from an action 
of the mind which does not check the utterance, or the 
delay is for calling the especial attention of the hearer 
to a word or phrase, the pause may be called Suspen- 
sive. The following are examples of this pause, which 
have no reference to the state of the speaker's mind. — 

Master Walter* " Yet one, 

I 'd like thee much to see, the bridal — chamber." 

Pescara. "And on his front in burning characters, 
Was written — vengeance." 

When the current of language is suddenly stopped by 
a change of thought, or by some external cause, the 
cessation may be styled an Interruptive pause. This 
pause occurs frequently in the pages of the drama. The 
following is an instance : — 

Ion. " If I should not return, bless Phocion for me. 
And for Clemanthe — may I speak one word, 
One parting word, with my fair playfellow?" 

* Hunchback. 



PUNCTUATION. 153 

The emphatic, the suggestive, the suspensive, and the 
interruptive pause, are special in their application, ex- 
cept when the suspensive is a characteristic of the ex- 
pression of mental state. The characteristic and the 
pathognomical pauses, are more or less general in their 
application ; the sentensic * are universal. 

Personation requires the following pauses in the an- 
nexed passage from Lear ; as these pauses are not re- 
quired by the sentiment, they would be improper, if the 
language were assigned to many other characters. — 

O reason not the need; our basest — beggars 
Are in the poorest — thing superfluous. 
Allow not Nature, more — than Nature — needs, 
Man's life is cheap — as beast's. 

The following interrogatory from Falstaff's soliloquy 
on honor, must be punctuated as marked, to accord with 
the characteristic utterance. — 

" What need I be *] so forward ^ with him -j that calls not ""j on 



* This designation is applied to those pauses which are necessary 
to the general import of a sentence as determined by the context, 
or are employed in what is truly called "inexpressive" delivery. 



154 EXPLANATORY OBSERVATIONS. 



CHAPTER IX. 

APPLICATION OF PRINCIPLES. 
SECTION I. 

Explanatory Observations. 

Having presented the basis of vocal expression, by 
the preceding elucidation of the vocal and the articulate 
elements, and of the principles of combination which 
govern their associative relations, and by the exposition 
of the instrumentality of syllabic, verbal, and sentential 
structure, in diversifying the characteristics of oral lan- 
guage, and of emphasis and punctuation in expression, — 
the application of what has been evolved to written lan- 
guage, will exemplify the principles which have been ad- 
duced, and develop the means for the oral exposition of 
the import of language. 

Every modification of which the voice is susceptible, 
may be illustrative of what is passing in the mind, or 
what pertains to character. 

The abstract consideration of each vocal constituent, 
necessary to the analytical process of its elucidation, 
must now be reversed in the synthetic view of its com- 
bined application in speech. 

To comprehend the amount of volume denoted by the 



EXPLANATOilY OBSERVATIONS. 155 

terms of designation which may be employed, the degree 
of concrete pitch, form of stress and quality, must be 
considered : as what is large volume in one mode of 
quality or stress, is small volume in another. If large 
volume should be appropriated to both a simple slide and 
a loud concrete, the loud concrete necessarily employs 
larger amount than the simple slide, though relatively 
the same. If the words — '• It was you" — should be 
respectively pronounced with the simple slide, the loud 
concrete, and the thorough stress, and without any aug- 
mentation of volume beyond what the distinctive cha- 
racter of the forms of utterance essentially require, the 
amount of volume, though varying in each, would be 
denominated the same ; and if these words were respec- 
tively uttered with the pectoral, the colloquial, and the 
orotund quality, the same comparative force would pre- 
sent different degrees of volume. 

The absolute duration of quantity, depends upon the 
amount of volume, form of stress, degree of concrete 
pitch, as well as upon the sentiment ; for whatever may 
be the average extent of the quantity demanded by the 
sense, the aggregate consists of various degrees, but the 
average quantity is the expressive extent. 

Variation of quality or change from one quality to 
another, and diversification of the same quality, are 
greatly determinative of the absolute pitch of the current 
melody ; as the qualities of the voice vary, not only in 
extent, but in range of pitch. The widest compass of 



156 EXPLANATORY OBSERVATIONS. 

pitch undoubtedly occurs in the orotund ; which, when 
highly cultivated and flexible, embraces generally from 
two to three octaves. 

The current pitch of this quality is, therefore, suscep- 
tible of the greatest variation. The compass of the pec- 
toral and the labial, is about a fifth. The guttural 
ranges generally a few degrees above an octave. The 
colloquial, through two octaves. In voices trained to 
orotund and guttural expression, the gravity and com- 
pleteness of vocalization imparted, limits the compass of 
the falsette and the aspiration ; though this training im- 
parts to the vocal organs power to execute the whisper 
and falsette with greater force.* 

Though the depth and sharpness of quality, are dis- 
tinct attributes from the gravity and acuteness of intona- 
tion, yet the greater the depth, the lower the range of 
pitch, except in the pectoral ; the pitch of which, is low 
in comparison with the guttural. Hence, the degree of 
acuteness which is high pitch in one quality, is necessa- 
rily low pitch in another. 

The confounding of pitch with quality, and with va- 
riation of depth in quality, has produced much confusion 
with regard to current pitch. When the pectoral qua- 
lity is employed in the expression of horror, the pitch is 

* In attempting" to carry the orotund beyond its compass, the 
sound is changed to a combination of nasality and falsette ; the gut- 
tural is changed to nasality ; the colloquial, as is well known, to fal- 
sette; the pectoral and the labial, to aspiration. 



EXPLANATORY OBSERVATIONS. 157 

occasionally called low, when a high pectoral pitch is used. 
When great depth of orotund is employed, the pitch is 
frequently deemed low, when in a medium degree. 

Expression does not require absolute degrees of cur- 
rent pitch. This pitch may be almost any degree of 
acuteness or gravity when belonging to different voices, 
but must be in all, comparatively the same. When the 
pitch is designated as a relative degree of the compass 
of a particular quality, the positive pitch is as definite, 
as when a certain note above the lowest pitch of the 
speaker's voice is named ; as the pitch of the lowest note 
varies with the quality. 

A singular fact sometimes occurs in executing transi- 
tions of quality ; — a concrete interval may commence 
with one quality of voice, and pass into another which 
ranges in a different pitch. The same transition may 
occur in two successive syllables, whose radical pitch 
differs but a tone. This furnishes an apparently anta- 
gonistic or impossible consociation. The variations of 
pitch are accompanied with degrees of volume and other 
vocal modifications, that are, as has been stated, essen- 
tial to the expressive character. The conjunction of 
the adjuncts of one degree of pitch with another degree? 
is exemplified in the reduction of the falsette, or the ap- 
propriation of the shrillness or other properties of the 
highest degrees of the scale, to lower degrees. This 
transition is not confined to the properties of the falsette. 
By preserving the ordinary difference of pitch, between 
14 



158 EXPLANATORY OBSERVATIONS. 

syllables pronounced with different qualities, the ear is 
not shocked by violence in the transition. 

As the variation of one or two degrees in current 
melody, does not mar the expression, the division of the 
pitch of every mode of voice into lowest, very low, low, 
middle, high, very high, and highest pitch, affords desig- 
nations sufficiently definite. The various degrees of 
volume may be represented by the terms smallest, very 
small, small, average, large, very large, largest; and 
those of quantity, by the terms shortest, very short, 
short, medium, long, very long, longest. Variation of 
quality, as regards the guttural, the orotund, and the 
pectoral, may be denoted by the designations slightest, 
very slight, slight, medium, great, very great, greatest 
depth ; and as regards the colloquial, the labial, the 
nasal, and the falsette, by the designations slightest, 
very slight, slight, medium, great, very great, greatest 
sharpness.* Though these modifications of quality refer 
to but one form of diversification, yet other changes are 
dependent upon these, and accompany them. 

Expression is diversified by peculiarities of individual 
mind, by involution through expressive manifestation of 
character, thought, and passion, in combination, by the 
association of general and special expression, f and by 

* Vocal sharpness, in this treatise, does not denote what is com- 
monly called a piercing sound, but those properties which are anta- 
gonistic to depth. 

f General expression belongs to the import of language generally ; 



EXPLANATORY OBSERVATIONS. 159 

the occasions of employment. The commixture of ide- 
ognomy,* pathognomy, and characteristic delineation, 
renders classification almost impracticable, as the generic 
characteristics are frequently merged into the special 
distinctions. 

The verb is generally deemed the primary word in a 
sentence, though this position is by some assigned to the 
noun ; the other words being considered primary and 
secondary adjuncts. Though the verb is grammatically 
the foundation of a sentence, the noun is the basis 
of the general idea. But the special purport may re- 
quire the prominence of an action, quality, mode, or re- 
lation, instead of an object ; as the picture presented in 
delivery must be conformable to the picture in the mind. 
From this fact, it is manifest, that distinguishing pro- 
perties of utterance, are indicative of mental character, 
and of the operations of the mental faculties. In con- 
versation, one or two analogous parts of speech, are 
generally more prominent than others. With some per- 
sons, verbs and participles are most conspicuous. This 
denotes a mind which more readily and distinctly cog- 
nises events and actions, than objects, relations, or 
qualities. With other persons, adjectives and adverbs 
are more prominently marked,, a manifestation of the 
priority of attributes and modes in the mind. When 

special, to the import of words. The latter is, generally, a specifi- 
cation of verbal import, through symbolical or imitative expression. 
* Ideognomy is the expression of ideas. 



160 EXPLANATORY OBSERVATIONS. 

this prominence is assigned to nouns and pronouns, ob- 
jects are the chief points of attention. When self- 
esteem is a predominant trait of character, every inflec- 
tion or case of the first person of the pronoun, is asso- 
ciated with a marked utterance ; and when cautiousness 
characterizes an individual, syllabic dissection and long 
interverbal cessations are prevalent, &c. 
Shylock's exclamation — 

"How like a fawning- publican he looks!" 

may be varied in delivery by assigning three different 
purposes to the exclaimer. 1st. To assert a great degree 
of resemblance, by a direct wave of a third with median 
stress on "how"; 2d, — to declare positively a resem- 
blance, by loud concrete of a third with long quantity on 
"like"; and 3d, — to affirm a resemblance to a degraded 
object, (the actual purpose), by the downward slide of a 
fourth with median stress and long quantity on "fawn," 
radical stress on pub, and forcible and prolonged articu- 
lation of p. 

Shylock's hatred is prominently associated with the 
development of the sense of the language. This passion 
is not mere hate, but such as belongs especially to the 
mind of Shylock. Hatred associated with contempt for 
the religion of Antonio. Hatred arising from the con- 
sciousness of personal injuries. Hatred national, per- 
sonal, and religious ; long borne, deeply felt, but suppres- 
sed. Shylock's passion is a combination of malicious vin- 



EXPLANATORY OBSERVATIONS. 161 

dictiveness and honest indignation, grief, anger, revenge, 
and prejudice. This complication of emotions, requires 
in delineation, less guttural asperity, a longer quantity, 
less transition in pitch, and less force, than mere hatred. 
The connection of personal habits of utterance with 
idiosyncracy and mental action, requires the dramatic 
personator to think with, as well as feel with character. 
The latter is a degree of dramatic excellence of compa- 
ratively easy attainment ; the former requires the highest 
intellectual capacity for identification ; as not only the 
appropriate ideas must be delineated, but the particular 
process of thought. 

The two great divisions of expression, the comic and 
the serious, are fundamentally distinguished by the ca- 
priciousness of the former, and the formality and regu- 
larity of the latter. " The rules to please the fancy," 
says Cibber, " cannot be so easily laid down, as those 
that ought to govern the judgment. The decency too, 
that must be observed in tragedy, reduces, by the manner 
of speaking it, one actor to be much more like another, 
than can or need be supposed to be in comedy : there the 
laws of action give them such free and almost unlimited 
liberties to play and wanton with Nature, that the voice, 
look, and gesture of a comedian, may be as various as 
the manner and faces of the whole of mankind." 
Aristotle defines the ridiculous, to be " something de- 
formed, and consisting of those smaller faults which are 
14* 



162 ADDITIONAL FORMS OF CONCRETE. 

neither painful nor pernicious, but unseeming: thus a 
face excites laughter, wherein there is deformity and 
distortion without pain." 

These citations show the boundless variety and cha- 
racter of the ludicrous ; and illustrate, by analogy, the 
distinctive nature of vocal ludicrousness : which may 
consist of any departure from the regular execution of 
the vocal elements, that is not offensive to the ear. 

Significative, symbolical, and imitative expression, 
pertain variously, to different forms of communication 
produced by subject and purpose. These three forms of 
expression are appropriate to oratorical delivery, the sig- 
nificative predominating, and the symbolical being pre- 
ferable to the imitative. Didactic delivery is confined 
to the symbolical, and the partially imitative ; though 
its deliberate character gives a precision to verbal spe- 
cifications, which apparently renders them strictly imi- 
tative. The imitative most frequently occurs in poetic 
delivery, and next in frequency, in dramatic. Symbolical 
expression, when illustrative of character in oratory and 
poetic recitation, verges on the characteristic. 

SECTION II. 

Additional Forms of the Concrete. 

In addition to the modes of vocal sound to which re- 
ference has been made, the following occur in audible 
communication : — 



ADDITIONAL FORMS OF CONCRETE. 163 

The Protracted Radical of Speech. — A prolongation 
of the full body of the radical through half of the con- 
crete pitch, succeeded by a gradual diminution to the 
end. 

The Protracted Vanish of Speech. — A continued 
augmentation of volume unto the middle of the concrete 
pitch, and a protraction of the full volume at the middle 
unto the termination. 

The Protracted Median Stress. — A prolongation of 
a full and equal amount of volume through the central 
part of the slide or wave. 

The Unequal Median Stress. — An appropriation of 
a larger portion of the concrete progression to the di- 
minishing than to the augmenting volume, or the reverse. 

The Unfinished Concrete. — This is either a sudden 
interruption of the concrete progression, or a continua- 
tion, (without consummating the interval,) of the termi- 
nating portion on a line of pitch. In the former, both 
pitch and volume are incomplete ; in the latter, pitch 
only is incomplete. The former may be denominated 
the Abrupt Unfinished Concrete, the latter simply the 
Unfinished Concrete. 

There is a mode of concrete progression, in which the 
voice rises through a part of an interval, then descends 
through a less extent than that of the rise, and then 
ascends to the termination of the interval : and another 
mode, in which, after the initial rise, the voice continues 
on a line of pitch, and then consummates the interval by 



164 SYNOPSIS OF NOTATION. 

an ascent. These progressions are reversed by the 
downward direction of the first, and the last movement. 

The designations, Waving Ascent and Waving Descent, 
may be respectively applied to the first of these modes 
of continuous sound, and its reverse. The designations, 
Rising Indirect Concrete and Falling Indirect Concrete, 
to the second mode and the reverse. 

These forms of utterance are of very unfrequent occur- 
rence.' They may sometimes be heard in insanity, child- 
ish sportiveness, and the doubt of forgetfulness. The 
following are the only examples occurring in this treatise : 

I '11 not be used so. — Insanity. 

n) in 

It is for you and me. — Childish Sportiveness. 

You are a — Venetian. — Doubt. 

Sometimes the force of the doubt leaves the interval 
incomplete. If remembrance flashes on the mind during 
the utterance of the syllable, the voice rapidly passes to 
the termination. 

SECTION III. 

Synopsis and Explanation of Notation. 

The following are the signs of various intervals and 
modes of pitch, forms of volume, &c, employed in the 
succeeding exemplifications. — 



SYNOPSIS OF NOTATION, 



165 



Upward. 




Downward. 




Slide of a Second 


/. 


Slide of a Second 


\. 


Slide of a Third 


3 
/. 


Slide of a Third 


3 
\. 


Slide of a Fourth 


4 


Slide of a Fourth . . . 


4 
\. 


Degrees of Radical Pitch 




... \ \ / / A 

1, 2, 3, 4, 5, 


/ &C. 

6, 



The radical pitch always refers to the distance be- 
tween consecutive syllables. But the figures under the 
slides, (represented above,) denote the relative position 
of each syllable, with regard to all occupying the same 
current melody, or a melody rising or descending from 
another without interruption. When a change occurs in 
current melody in the following examples, denoting a 
change in the absolute pitch of the relative degrees, it 
is marked by designating the relative degree of the com- 
pass of the quality. 

Numbers denote radical pitch when placed under signs 
of waves and stresses, as well as signs of slides ; and 
denote either tones or semitones, according to the cha- 
racter of the current melody. 

Direct Wave of a Second, , 

Direct Wave of a Third, , 

Direct Wave of a Sixth, , 
Double Direct Wave of a 



Second, \j> 

Continued Direct Wave of 
a Second, \J\T\> 



5 

ru- 



Upward Semitonic Slide, 
Upward Minor Third, 



Inverted Wave of a Second, u . 
Inverted Wave of a Fourth, i. 
Inverted Wave of a Seventh, J. 
Double Inverted Wave of a 

Fifth, 
Continued Inverted Wave 

of a Second, \j-\j. 

2 

Downward Semitonic Slide, \. 
Downward Minor Third, \. 



166 



SYNOPSIS OF NOTATION 



Upward Minor Fourth, 
Direct Semitonic Wave, 
Direct Wave of the Minor 

Third, 
Direct Double Semitonic 

Wave, 



2 

Ln- 



Downward Minor Fourth, \. 
Inverted Semitonic Wave, 5* 
Inverted Wave of Minor 

Fourth, i. 

Inverted Continued Semi- 

2 

tonic Wave, \j\). 



Direct Unequal Wave of Second and Third . . . 
Direct Unequal Wave of Semitone and Second 



Inverted Unequal Wave of Third and Fifth 3 j. 

3 

Inverted Wave of Semitone and Third 2J. 

3 5 

Direct Double Unequal Wave of Second, Third, and Fifth . . W\ 
Inverted Continued Unequal Wave of Second, Fourth, Sixth, 



and Seventh 

Unfinished Concrete. 



467 



Abrupt Unfinished Concrete zx &, 

These examples comprehend but a small part of the 
slides and waves, but they are sufficient to elucidate the 
notation. 



Loud Concrete A V. 

Radical Stress A V. 

Median Stress ^. 

Vanishing 1 Stress P \>. 

Thorough Stress #%. 

Compound Stress &%. 

Abrupt Concrete AW. 

Protracted Radical Stress, ^. 

Protracted Van. Stress. . . & &. 



Protracted Median Stress, <? ^ 
Unequal Median Stress . . P^ 

Tremor //} <^\ 

Wave and Loud Concrete . . <u 
Wave and Median Stress . . w 
Wave and Vanishing Stress, ^ 
Wave and Thorough Stress, ^ 
Wave and Compound Stress, ^ 
Wave and Abrupt Concrete, & 



EXEMPLIFICATION. 



167 



Wave and Prot'd Rad. Stress, a/. 
Wave and Pr. Med. Stress, w. 
Wave and Pr. Van. Stress . u> 



Wave and Uneq'l Med. Stress 
Tremor of Wave ~^- 



When the radical of the simple slide is protracted, it 
is stated. 

Figures placed above these signs, denote the interval 
of concrete pitch, as well as those above other signs. 

The number placed on the right of the sign of the 
tremor, indicates the interval traversed by the tittles in 
their radical ascent and descent. "When the quantity 
of a syllable is longer than the general rate of move- 
ment and the form of the concrete demand, a line 

is placed under the syllable ; when shorter, the line is 
placed over it. 

The relative duration of pauses, is represented by the 
number of the vertical lines |'. The shorter line repre- 
senting half the time of the longer, and the shortest 
pause. 

Departures from general expression, are enclosed be- 
tween vertical lines, and designated by appended notes. 

SECTION IV. 
Exemplification. — Simple Communication. 

Colloquial quality, medium sharpness; small volume; middle 
pitch ; medium quantity. 



/ 



/ / \ \ / / / / / / 

•A 3 2 2 1 23 2234 

"My name is Norval. I 1 On the Grampian hills' 



3 2 



/ / / 

2 3 3 



My father feeds his flocks; | a frugal swain:" 



168 EXEMPLIFICATION OP 

Interrogation. 

The quality, sharpness, volume, pitch, and quantity, are the same 

as in the foregoing example. 

3 5 

/ / / / / / / / /■ / 

3 3 4 4 244 313 

11 Can you play the murder of Gonzaga I" 
Exclamation. 

Orotund quality, medium depth; very large volume: xery high 
pitch ; short quantity. 

533 53 33335 

t^\ \ t\ \ // / /. V 

446 46 2344 2 

11 Liberty ! | Freedom ! j> Tyranny is dead !" 

In the first of the following instances, the current 
melody gives to the language the expression of calm re- 
gret. This arises from the prevalence of the lowest 
point of the current pitch and the monotone. In the 
second, the tendency to rise to the highest point of cur- 
rent pitch, and the variation of radical pitch, impart 
levity. 

Though these examples illustrate the expressive offices 
of radical pitch, yet the same significancy does not at- 
tend all modes of executing the same current melody. 
The effects produced on the succeeding passages by di- 
versifying this melody, require its combination with the 
style of simple communication. 

s / / / / / / / / /■■/ 

433 2211 1 122 

" But I am very sorry, | good Horatio, |' 
/ / / / / / / / \\ 

2 2 211 112 21 

That to Laertes, ' I forgot myself: ||' 



CHARACTERISTIC EXPRESSION. 169 



'/ S / / / / ? / / / 

33221 11 1 11 

For by the image ' of ray cause, J I see 

3 

/ / / / / \ 

2 2 11 2 2 

The portraiture I of his." 
/////// / / / / 

122 1232 1 212 

"But I am very sorry, | good Horatio, [ l 
/ / / / / / / / \ \ 

1 2 123 233 21 

That to Laertes, ' I forgot myself; ||' 

3 

/ / / / / / / / "/ / 

12122 33 3 23 

For by the image ' of my cause, | I see 

3 
/ / / / / \ 

2 12 3 2 3 

The portraiture ' of his." 

In the representation of Hamlet, this passage requires 
orotund quality, low pitch, and long quantity, instead of 
colloquial quality, middle pitch, and medium quantity. 
This expression is partly demanded by the sentiment, 
and partly by the character. If it is associated with 
the former current melody, it makes the sentiment 
solemn ; if with the latter, it renders it in a slight de- 
gree, mock-serious. In the illustration of the funda- 
mental modes of communication, — simple declaration, 
interrogation, and exclamation, — the expression charac- 
teristic of the personages to whom the language belongs, 
is, of course, not regarded. 

Characteristic Expression. 
That part of expression which depends upon cha- 
racter, being diversified by the delineation of sentiment, 
15 



170 EXEMPLIFICATION OP 

ideas, and passion, and diversifying this delineation, its 
abstract properties can be ascertained, only by associat- 
ing them with simple communication, or by observing the 
difference in the utterance of similar ideas by different 
personages. But the actual import of language, being 
in a great degree dependent upon the nature of the mind 
of which it is an exposition, difference in characteristic 
expression, frequently denotes difference in apparently 
similar sentiments : but how far oral sound represents 
mental constitution, idiosyncracy, and physical state, 
cannot be accurately determined, while it refers to sen- 
timent or emotion, as well as to character. 

The passages which follow, have been selected from 
the characters to which they belong, because they can 
be viewed as simple declarations, not requiring special 
expression ; or if such expression is required, it is one 
with the characteristic. 

Idiosyncracy being regarded in the utterance of every 
word, the absolute properties of simple communication, 
when characteristic, must evidently vary ; but this does 
not militate against the form of delivery assigned to this 
communication ; as it is in all characters relatively the 
same. Though the colloquial voice in one, may resemble 
the guttural in another,* and high pitch in one, may be 
middle pitch in another, &c. 

* This apparently deprives the qualities of definite distinctions ; 
yet there is a standard of definite properties referred to in the sec- 
tion on Quality. The voice whose ordinary conversational sound is 



CHARACTERISTIC EXPRESSION. 171 

The vocal designations accompanying the extracts 
here presented, conform to the requisites for a clear re- 
presentation of personal utterance. The conversational 
styles developed, arise mainly from the specified promi- 
nent traits of the dramatic personages. 

EXAMPLES. 

Cato. 

Thoughtfulness, solemnity, dispassion, and firmness. 

Orotund quality, greatest depth ; average volume ; low pitch ; com- 
paratively long medium quantity; prevalence of downward slide of 
a second ; interval of a third for emphasis — the median stress united 
with the concrete third ; long interverbal pauses ; frequent monotone. 

" Fathers, we once again are met in council. 
Csesar's approach has summoned us together, 
And Rome attends her fate from our resolves." 

guttural, possesses none of those distinctive attributes which discri- 
minate the real colloquial quality from all others ; yet there are oc- 
casions, when the sound attains a comparative exemption from gut- 
tural asperity and depth, and approaches towards the smoothness and 
sharpness required by the colloquial standard. The epithet colloquial 
may therefore be employed to designate this modification of. this 
voice. But in the examples of characteristic expression, the quality 
assigned has reference to the properties of voice in the abstract, and 
not to the divisions of individual voice. In females, the guttural 
does not generally reach the depth of the orotund. It is designated 
accordingly. Least colloquial sharpness represents the female 
orotund, &c. 

Quality is the only vocal element which is referred in exemplifi- 
cation to an absolute standard. The others have a relative reference. 



172 EXEMPLIFICATION OF 

Othello. 

Openness, courage, impulsiveness, affection, and rude dignity. 

Orotund approximating to the guttural, least vibration ; large vo- 
lume; middle pitch; medium quantity; prevalent upward slide of a 
second ; alternation of radical pitch ; intervals of a third, occasional 
median stress on the wave and simple concrete, for emphasis. 

" That I have ta'en away this old man's daughter, 
It is most true ; — true, I have married her." 

Lest the difference in the vocal properties assigned to 
Cato and Othello, should be attributed to the difference 
of reference in the language of the two characters, the 
one referring to a great public, the other to a private 
occurrence — the dramatic delivery of the following words 
of Cato to Juba, and of Othello to Montano, is presented 
as a demonstration of the propriety of the characteristic 

delivery appropriated to each : — 

\ 
Cato. "Adieu, young prince : I would not hear a word 
Should lessen thee in my esteem." 

Othello. " Worthy Montano, you were wont to be civil ; 
The gravity and stillness of your youth, 
The world has noted, and your name is great 
In mouths of wisest censure." 

The sentiment in both instances is partly condemna- 
tory, and partly approbatory. The association of the 
combined expression of these mental actions with the 
assigned characteristic utterances, constitutes the proper 
general expression of these passages. 



CHARACTERISTIC EXPRESSION. 173 

Iago. 

Duplicity, deliberation, malice, craftiness, and callousness. 

Colloquial quality, least sharpness ; small volume ; low pitch ; long 
quantity; occasional slight aspiration;* upward slide of a second 
almost universal, as sentences and clauses forming complete sense oc- 
casionally terminate with it; comparatively long pauses; emphasis 
with discrete pitch of a third, or slight augmentation of volume., 

" Montano and myself being in speech, 
There comes a fellow crying out for help." 

EXAMPLE CONTAINING ASPIRATION. 

"Dangerous conceits are in their natures, poison." 

Desdemoxa. 

Gentleness, innocence, confidence, and seriousness. 

Colloquial quality, great sharpness ; small volume ; low pitch ; me- 
dium quantity ; occasional semitone, monotone, and downward slide ; j" 
emphasis with slide of a third and discrete third. 

" I am not merry ; but I do beguile 
The thing I am by seeming otherwise." 

* In speaking to a person at a distance, with the intention to pre- 
vent the overhearing of others, the effort to hide the sound, aspirates 
the voice : the mental reservation which marks duplicity, leads to an 
unintentional endeavor to conceal even the utterance of thought : 
this concealment, from analogy to the vocal suppression, is evidently 
associated with slight aspiration. 

f When, in the illustration of characteristic expression, the degree 
of concrete pitch is not designated, it is the interval of a second. 
When the constituents of the current melody are not named, they 
are generally upward slides of a second. When the mode of em- 
phasis is not presented, it is diversified. 

15* 



174 EXEMPLIFICATION OF 

Seriousness is not deemed a general phase of Desde- 
mona's mind from the language quoted, but from the 
impression which circumstances must evidently make. 
Thoughts of her father's displeasure, must frequently 
cross her mind, though she refers to him but once. — 

" If you have lost him, 
Why I have lost him too." 

The uncertainties of her situation, an indistinct fore- 
boding of her fate, cast a shadow over the joyousness of 
youth: the words — 

" Good Father ! how foolish are our minds ! 
If I do die before thee, (to Emelia), pr'y thee shroud me 
In one of those same sheets, — "* 

are but the assuming of a definite form, by the indistinct 
shade which flitted before her mind. 

Emelia. 

Vehemence of temper, energy of will, moral lightness. 

Colloquial quality, medium sharpness ; large volume ; middle pitch ; 
short quantity; emphasis with radical stress. 

" But jealous souls will not be answered so. 
They are not jealous for the cause, 
But jealous for — they 're jealous." 

Rodkrigo. 

Silliness, baseness, and credulousness. 

Colloquial quality, very great sharpness ; small volume ; high 
pitch; long quantity; prevalence of upward, but frequent downward 
slide. 

* Neither of these passages is in the acting copy. 



CHARACTERISTIC EXPRESSION. 175 

" I think I can discover him, if you please 
To get good guard and go along with me." 

PoLONIUS. 

"A prating, pedantic, busy, obsequious statesman ; a fool with a 
dash of the knave." * 

Age, self -confidence, dogmaticalness. 

Colloquial quality, greatest sharpness; small volume; very high 
pitch ; short quantity; prevalence of median stress f and downward 
slide; the median stress frequently on the downward concrete; em- 
phasis generally with discrete third, occasionally, with thorough stress 
of this interval. 

"And then I precepts gave her, 
That she should lock herself from his resort, 
Admit no messengers, receive no tokens." 

Ghost of Hamlet's Father. 

Awf ulness ; anger, jealousy, suffering, and revenge, suppressed ; 
the natural vigor of their manifestation being subdued by super- 
natural horrors. 

Guttural quality, combined with the pectoral; small volume; low 
pitch ; long quantity; prevalent monotone ; emphasis with slight aug- 
mentation of volume ; cadence with a falling tone or ditone. 

" Sleeping within mine orchard, 
My custom always of the afternoon, 
Upon my secure hour thy uncle stole, 
With juice of cursed hebenon in a phial, 
And in the porches of mine ear did pour 
The leperous distilment. 

* Davies. Life of Garrick. 

f The prevalence of other forms of the concrete than the upward 
or the downward slide, refers generally to the accented syllables. 



176 EXEMPLIFICATION OF 

The investing of the delineation of this character with 
the gloom of the grave, leads to the exclusion of every 
degree of impassioned expression. Tieck observes, that 
" there should be anger in the words, and vehemence in 
the gestures," and censures the monotony common in the 
representation of the part, as the ghost has the human 
passions — anger, jealousy, desire of revenge, &c. 

This manner of delineation is as extravagant, as the 
monotonous is tedious : the part occasionally admits of 
variation of the general pitch, volume, and quantity, but 
not to a great extent. 

First Grave-Digger. 

Clownish disputatiousness and rudeness. 

Combination of the orotund and the colloquial quality; large vo- 
lume; middle pitch; long quantity; prevalence of downward pro- 
tracted radical and protracted median stress ; emphasis with intervals 
of a third; long interverbal,and sentensic pauses. 

"I'll put a question to thee ; if thou answerest 
Not to the purpose, confess thyself — " 

Queen Gertrude. 

Serenity, dignity, and mildness. 

Colloquial quality, slightest sharpness; average volume; low pitch ; 
long quantity; occasional monotone and median stress. 

"Good gentlemen, he hath much talked of you; 
And sure I am, two men there are not living, 
To whom he more adheres." 



CHARACTERISTIC EXPRESSION. 177 

Ophelia. 

Piety, harmlessness, filial and sisterly affection. 

Colloquial quality, slight sharpness; small volume; middle pitch: 
medium quantity ; upward slides interspersed with semitones; em- 
phasis with intervals of a third. 

' My lord, I have remembrances of yours, 
That I have longed long to re-deliver." 

Calibau. 

Brutishness ; an almost purely earthy nature ; grovelling propen- 
sities, but not human vulgarity. 

Guttural quality, greatest depth ; large volume ; middle pitch ; 
medium quantity ; abrupt concrete* prevalent in the current melody, 
and on a concrete third in emphasis. 

" Then I lov'd thee ; 
And show'd thee all the qualities o' the isle, — 
The fresh springs, brine pits, barren place and fertile." 

Ariel. 

" Thou which art but air." 

Colloquial quality, greatest sharpness ; small volume ; low pitch ; 
medium quantity; occasional monotone and median stress; slight 
variation of pitch and volume for the purpose of imparting the 
greatest melodiousness. 

" I boarded the king's ship ; now on the beak, 
Now in the waist, the deck, in every cabin, 
I flam'd amazement." 

# This form of volume, being in the section on Volume appro- 
priated to the expression of vulgarity, may be deemed incompatible 
with Caliban ; but this expressiveness is not associated with the 
abrupt concrete when the quality is the deepest guttural ; though it 
may be, if the sound is but slightly guttural. 



178 EXEMPLIFICATION OF 

Miranda. 

Mental cultivation without worldly experience, imaginativeness 
and natural simplicity. 

Colloquial quality, very great sharpness ; small volume ; middle 
pitch ; medium quantity ; prevalence of downward slide and down- 
ward median stress. 

"'T is far off, 
And rather like a dream, than an assurance 
That my remembrance warrants." 

Lord Ogleby.* 

Vanity, self-conceit, kindness, refinement, superannuated gallantry, 
and stimulated vivacity. 

Colloquial quality, slight sharpness ; average volume ; pitch varied, 
being high and low; medium quantity; on the radical part of many 
of the slides, the quantity is longer than on the vanishing part. 

" She has a passion, a most tender passion. She has opened her 
whole soul to me, and I know where her affections are placed." 

Mr. Sterling. 

Arrogance, selfishness, purse-pride, vulgarity, low pretensions. 

Guttural quality, least depth, least vibration; large volume; high 
pitch; medium quantity; prevalence of abrupt concrete. 

" Mind now, how I'll entertain his lordship and Sir John. We'll 
show your fellows at the other end of the town how we live in the 
city. — They shall eat gold, — and drink gold, — and lie in gold. What 
signifies your birth, and education, and titles'? Money, money! 
that' s the stuff that makes the great man in this country." 

# Clandestine Marriage. 



CHARACTERISTIC EXPRESSION. 179 

Mrs. Heidelberg. 

Ignorance, assumption of gentility, vulgar imperiousness. 

Colloquial quality, slightest sharpness ; large volume ; high pitch ; 
short quantity; prevalent downward slide; emphasis with radical 
stress. 

" I' 11 let them see that we can act with vigur on our part ; and 
the sending her out of the way, shall be the purluminary step to all 
the rest of my purceedings." 

Master Walter. 

Sedateness, probity, paternal affection. 

Orotund quality, very great depth ; average volume ; middle pitch j 
long quantity; frequent downward slide. 

"Julia, 
A promise made, admits not of release, 
Save by consent or forfeiture of those 
Who hold it." 

Julia, (in the country). 

Youthfulness, contentment, maidenly sprighlliness. 

Colloquial quality, medium sharpness; small volume; middle 
pitch ; medium quantity. 

" F m wedded to a country life." 

Julia, (in the city). 

Ostentation, love of admiration, fashionable gayety. 

Colloquial quality, slight sharpness ; comparatively large average 
volume; middle pitch; comparatively long medium quantity; fre- 
quent median stress. 

" When he makes 
A lady of me, doubtless must expect 
To see me play the part of one." 



180 EXEMPLIFICATION OF 

Huon\* 

Submissiveness, native exaltation of mind and character obscured 
by a degrading social position, suppressed love. 

Orotund quality, least depth; small volume; low pitch ; medium 
quantity ; emphasis with intervals of a third.-j- 

" The peasant, tho' of humble stock, 
High nature did ennoble." 

Countess. 

Love struggling with scorn and pride, stateliness, self-command. 

Colloquial quality, slightest sharpness; large volume; low pitch ; 
medium quantity; interspersion of downward slide, median and 
radical stress. 

" I would not think thee so presumptuous, 
As through thy pride, to misinterpret me." 

Cassius. 

Asperity, impetuousness, haughtiness, and inflexibleness. 

Guttural quality, medium depth; large volume; middle pitch; 
frequent radical stress; emphasis with great augmentation of volume, 
and with radical pitch. 

" I was born free as Cassar." 

Richelieu. 

Age, debility, wiliness, irritability, self-reliance, quickness of per- 
ception, brilliancy of conception, and warmth of affection. 

Colloquial quality, greatest sharpness, approximating to the proper- 
ties of the falsette ; average volume; low and middle pitch; long 
quantity ; frequent radical and median stress, and downward slide ; 
occasional vanishing stress ; long intersyllabic, interverbal, and sen- 
tensic pauses. 

* Love. 

f This expression is not characteristic of Huon when "favorite of 
the empress," 



CHARACTERISTIC EXPRESSION. 181 

" Beneath the rule of men entirely great, 
The pen is mightier than the sword." 

Adrastus. 

Grandeur, defiance, recklessness, and hopelessness. 

Orotund quality, medium depth; large volume; low pitch; compa- 
ratively long medium quantity ; emphasis with median stress. 

" Your king attends, to know your pleasure." 

Mr. Solomox.* 

Pompousness and inquisitiveness. A busy-body. 

Colloquial quality, least sharpness; very large volume; high pitch; 
comparatively long medium quantity; emphasis with slide of a third 
and very long quantity. 

" But what is to be expected from one who has no foreign corre- 
spondence." 

Lady Macbeth. 
Ambition, mental and physical energy, resolute determination. 

Orotund quality, least depth ; average volume; middle pitch; com- 
paratively short medium quantity, frequent median stress and down- 
ward slide. 

" You shall put 
This night's great business into my dispatch." 

Catharine, -j- 

Petulance, vexatiousness, dissatisfaction, and impatience. 

Colloquial quality, great sharpness; average volume ; high pitch; 
short quantity; frequent vanishing stress. 

" My duty, sir, hath followed your command." 

* The Stranger. f The Taming of the Shrew. 

16 



182 EXEMPLIFICATION OF 

Ideognomy. 

Embraces symbols, images, and those signs which are 
significant of ideas, but not of passion nor determination 
of the will. 

Significative Expression. 

"Their softest touch, as smart as lizards' stings; 
Their music, frightful as the serpent's hiss; 
And boding screech-owls make the concert full ; 
All the foul terrors of dark-seated hell." 

Colloquial quality, medium sharpness, slight aspiration ; large 
volume, middle pitch, shortest quantity. 

6 Orotund quality, least depth, slight aspiration; small volume, 
middle pitch, long quantity. 

c Orotund quality, greatest depth ; small volume, low pitch, long 
quantity. 

d Guttural quality, medium and increasing depth, aspiration ; ave- 
rage volume, middle pitch, long quantity. 

e Guttural quality combined with the pectoral, average volume, 
middle pitch, long quantity. 

Symbolical Expression. 

"Here lay Duncan, 

«A b P 

His silver skin laced with his golden blood ; 

<=A d A •% 

And his gashed stabs looked like a breach in Nature 

For ruin's wasteful entrance." 

« Colloquial quality, very great sharpness, increasing on the con- 
crete progression; small volume, middle pitch, very long quantity. 



IDEOGNOMY. 183 

b Colloquial quality, slightest sharpness; large volume, middle pitch, 
long quantity. 

candd Orotund quality, least depth; very large volume, high pitch, 
very short quantity. 

* Orotund quality, medium depth, slight aspiration ; average volume, 
high pitch, short quantity. 

Imitative Expression. 
" Each new morn, 

3 2 2 

New widows howl, new orphans cry; new sorrows 
Strike Heaven on the face, that it resounds, 
As if it felt with Scotland, and yelled out 

2 2 

Like syllables of dolour." * 

" Colloquial quality, medium and decreasing sharpness ; large vo- 
lume, middle pitch, very long quantity. 

5 Colloquial quality, great sharpness; small volume, middle pitch, 
medium quantity. 

c Orotund quality, medium depth; average volume, low pitch, long 
quantity, monotone. 

<J Orotund quality, medium depth ; very large volume, high pitch, 
very short quantity. 

e Orotund quality, medium depth ; large volume, middle pitch, me- 
dium quantity. 

f Colloquial quality, greatest sharpness approximating to the pro- 
perties of the falsette ; average volume, high pitch, long quantity. 

s Orotund quality, medium depth, small volume, low pitch, long 
quantity. 

An oratorical delivery of the following passage with 
the requisite fervency of imagination, exemplifies asso- 
ciated significative, symbolical, and imitative expression. 

* The characteristic expression requires an abatement of these 
verbal delineations. 



184 EXEMPLIFICATION OF 

Gorgeous En ume ration and Rapturous Admiration. 

Colloquial quality, least sharpness; small volume; middle pitch; 
long quantity. 

a / 
"With peculiar pleas ure, |' every cultivated mind | must repose 

/ / 

b£j _2*3 *0 

on the fair, I the happy, ' the glorious l Florence; — 1| 

Orotund quality approximating to the colloquial; large volume; 
high pitch ; long quantity. 

on the halls ' which rung with the mirth of Pulci, j — the cell I 

g P ~»Y*\ / P\ A 

where twinkled the midnight lamp of Politian, | — the statues | 

*'/ */■ A A k P 

on which the young eye of Michel Angelo ' glared with the 

frenzy of a kindred inspiration, — |' the gardens j in which ' Lo- 

/ / "Lo- 



renzo meditated some sparkling song ! for the may-day dance of 



the Etrurian virgins." |||||| 

Regretful and* Admiring Exclamation. 

Colloquial quality, least sharpness; small volume; low pitch; very 
long quantity; prevalent monotone. 

2 2 2 2 

"Alas, | for the beautiful I city ! || Alas, ' for the wit ' and the 

o 2 2 

learning, ] the genius ' and the love!" 

a , b, and e I ncre asing sharpness. 

c Orotund quality, least depth. 

d Orotund quality, medium depth. 

/and ft Increasing depth. 

g , i, i, m, and n Small volume. 

* Decreasing depth, slight aspiration. 

Greatest sharpness. 

p Very small volume. 

* See page 195. — Note. 



ADAPTATION OF ORAL LANGUAGE. 185 

Adaptation of the Oral Properties of the Language 
to Expression. 

Prominent among the writers whose style of composi- 
tion presents the syllabic, verbal, and sentential struc- 
ture, most favorable to the truth and beauty of expres- 
sion, is the author of the Letters of Junius : so great 
is the merit of these writings in this respect, that even 
when the audible reading of them is bad, (if the orthoepy 
is correct,) they have greater charms than in silent pe- 
rusal. The succeeding is an example : — 

" Even now ' they tell you, | that life is no more ' than a dra- 
matic scene, | in which ' the hero should preserve his consistency 

3 
/ / / / '. s / / t\ / / 

2 21223 32 2 2 

to the last; |' and, that [ as you have lived without virtue, | you 
/ ^ \ / / \ \ 

2 1 2 2 3 2 1 

should die | without ' repentance." 

The solemnity of admonition, and the gravity of con- 
demnation, require large volume, long quantity, smooth 
concrete progression, and great orotund depth. Immu- 
table syllables are not well adapted to this combination 
of vocal properties. The complex member of the sen- 
tence, ending at "scene," contains only two immutable 
syllables, the accented syllable of the adjective " dra- 
matic," and the conjunction "that." The emphatic words 
"now," "no," and "more," have great depth and re- 
sonant fulness of tonic vocality, and there is a general 
absence of harsh consonant combinations. The rising 
16* 



186 EXEMPLIFICATION OF 

energy in the succeeding part of the sentence, terminat- 
ing at "last," is enforced by the adaptation of "last" 
to the radical stress ; but this part is not so favorable to 
expression as the preceding. The remainder of this pas- 
sage must be regarded in two points of view — the 
mental purpose and the sense of the language, the ex- 
pressions of which, to some extent, contradict each other. 
In the structure, the words "lived" and "die," are 
placed in contrast, but in the mind, these words are not 
contrasted. The subjects of the declarations, are the 
absence of virtue and the absence of repentance. This 
renders only the word "without" on its first occurrence, 
and the word "repentance," emphatic. The import of the 
language requires the rising slide or inverted wave on 
"die," but the purpose of communication is better served 
by placing on "die," the direct wave of a second w T ith 
the median stress. To give "repentance" the vocal 
prominence demanded by the sense of the language, the 
radical stress is necessary, but to accord with the expres- 
sion of the mental purpose, emphatic distinction should 
be conferred on "repentance," by a pause at "without," 
and a long intersyllabic cessation before pen. The vo- 
lume and depth of ou in out and of ** in "die," har- 
monize with the required expression ; and the conformity 
of the language to the compromise expression, is the 
source of its audible excellence. The trisyllabic cha- 

* The depth imparted to i, varies the precise articulate sound, but 
does not mar its distinctive character. 



ADAPTATION OF ORAL LANGUAGE. 187 

racter of the final word adapts it to the triad of the 
cadence, and thus consummates the oral merits of the 
sentence with an harmonious close. 

Great as is the audible excellence of the foregoing 
sentence, that of the following exceeds it. The con- 
cluding part of this sentence exhibits almost the perfec- 
tion of sentential structure, so far as regards adaptation 
to delivery. 

" If Nature had given you an understanding | qualified to keep 
pace I with the wishes and principles ' of your heart, | she would 
have made you, ' perhaps, 1 the most formidable minister I that 

1 I 

/ ^ s / / ////// / / / / 

2 2 2 2 2 112222 12 23 

was | ever | em | ployed |~p|| under a | limited j monarch, j*"} to ac-| 

/ / S. P / / / \ \ 

2 2 1 23 22 3 21 

complish the j ruin J *j of a free I *1 people." | 

A character capable of executing the most stupendous 
evil, is an object both grand and terrific ; the contem- 
plation of such a character, inspires awe and astonish- 
ment, and even the supposition, impresses upon the mind 
a slight degree of these emotions : the latter, combined 
with indignation, is the mental state to be expressed in 
the delivery of this sentence. 

The structure of the syllables in the prominent word 
" understanding," and the adaptation of each syllable 
to indefinite extension, exempt the word from abruptness, 
and impart smoothness to a slightly protracted utterance. 
The aggregation of five such syllables, gives vocal pro- 
minence to a word. 



188 EXEMPLIFICATION OP 

The sentence does not require as great a depth, vo- 
lume, or extent of quantity, as the former ; the indig- 
nation raising the voice of awe, and quickening that of 
astonishment. In depth, extent of vocality, and ex- 
tendible character of tonic vocality, it is not equal to 
the former ; for this reason, well adapted to the ex- 
pression. The number of immutable syllables hastens 
the movement, and conforms it to the expression of in- 
dignation. The increasing grandeur of thought, demands 
augmentation of volume on the latter part of the sen- 
tence ; this, with smooth and flowing progression, is 
readily attained, through the structure of the syllables, 
the general character of the tonic vocality, and the 
arrangement of the w T ords. Such is the smoothness and 
regularity of the sentential construction, that rhythmical 
progression results from accuracy of expression : the 
most significant utterance being the most melodious. 
The position and length of the pauses, accord with the 
sense and rhythm, though the occupying of part of the 
time of the last measure with a short pause, before the 
accented syllable, as indicated in the notation, is contrary 
to the principles of rhythmical punctuation; but this 
pause preserves the temporal equality of the measures. 

In the following extract from Hamlet, the admirable 
adaptation of the most significant words to the oral re- 
quisites in the delineation of ideas through significative, 
symbolical, and imitative utterance, exemplifies the ex- 
pressive instrumentality of articulate and syllabic sound, 



DRAMATIC EXPRESSION. 189 

when the verbal expression is modified by the senten- 
tial, and is associated with pathognomy and character- 
istic expression. — 

Earnest Reproach and Slight Disdain. 

Orotund quality, medium depth, aspiration; large volume; high 
pitch; short quantity; long intersyllahic and interverbal pauses. 

/A d [ a A 

2 112 

"Proclaim no | shame, |' 

3 

2321224 3 2 3 

When the compulsive ardor j gives the charge ; 

/ V / V / V / / / C5 

2 123 1222 1 2 

Since frost itself, ' as actively I doth burn, | 

3 



/ ^ / I *A \ 

2 3 1 3 2 

And reason | | panders 



\ 

will." 



" Forcible and prominent articulation of s. Very large proportion of 
the concrete appropriated to m. 

h The articulation of p, is similar in force and prominence to that 
of s in " shame." 

Association of Characteristic and other Modes of 
Expression. 

(complete notation.) 

Othello Soliloquizing. 

Dejection and Commendation. 

Orotund quality, medium depth; large volume; low pitch; long 
quantity. 

222 22 2 2 22 2 

/ / '/ / / w ■/ /\ \ 

32*2 33 33 321 

"This fellow's | of exceeding ' honesty, I 1 

* The radical descent by a whole tone in semitonic melody, must 
be borne in mind. 



190 



EXEMPLIFICATION OF 

2 2 2 



2 2 2 

/ / V / / , 

3 2 2 2 3 3 

And knows all qualities, ' 



/ / / V \ 

»344 43 

Of human dealings. 



1 /, /./* / //' 

with a learned spirit, 



° Very low pitch, medium quantity, continued monotone. 
6 Middle pitch, medium quantity. 



Rage and Threatening. 

Guttural quality, least depth ; very large volume ; middle pitch j 
short quantity. 

3 3 

/ /•/ / A / 

3 2 3 1 3 5 7 

"If I do prove her | haggard, |' 



/ 



/ 



/ / A / 

5 5 7 8 3 5 

Though that her jesses ' were my 



' 3 ' 

dear 



V / 

8 6 

heart-strings, 



I'd 



\\ 

I 10 8« 

whistle 



3 5 

\ V V \ \ ^ \\ 

8 10 10 11* 11 9 5 6 

her off, | and let her down the wind, | 



s 


/ 


/ 


V 


\ 


4 


5 


6 


4 


2 


To 


prey 


at fortune." 



c Least guttural asperity. 

d Extended articulated aspiration. 

Sorrowfulness and Palliation. 

Orotund quality, medium depth ; small volume ; low pitch ; medium 
quantity; long intersyllabic, and interverbal pauses. 



* This degree of acuteness can be attained with a pure guttural 
quality by few voices. To reach the degree of pitch, here noted, 
and conform to the sentiment, the properties of the guttural and the 
colloquial must be combined. Tnough the guttural is more approxi- 
mative to the orotund than to the colloquial, the orotund is less con- 
sonant with the harshness and shrillness demanded. 



DRAMATIC EXPRESSION. 


• 


3 3 

" Haply,- 


l l 
- | for I 


l 

am 


/ 

2 

black, |l 


/ A 

2 2 


l l 


l l 


l 


/ / 
112 



And have not ' those soft parts of conversation 



/ // \ 

2 112 1 

That chamberers ' have; 



/ / /. /■ / / 

3 2 11 12 

or, I for I am declined 



2 2 2 



/ 



Into the vale of years; — ' 



191 



Rejection. 

Orotund quality, great depth ; large volume ; middle pitch ; short 
quantity. 

s s v \ 

2 3 2 1 

"Yet that's not much: — " | 

Grief, Rage, a^d Disgust. 

Orotund quality, greatest depth; very large volume; high pitch; 
very short quantity. 



5 2 

/ ^ / / / n 

3 4 6 6 5 '4 

She's gone! I 1 I am abused 



3 3 

Must be — 



/ / / . / / 

3 4 4 5 5 

That we can call these 



/ 

2 

and my relief 



/A 

4 4 



/ 


V 


\ 


5 


« 7 


3 


to 


loathe 


her. 



2 

i 
Oh, 



/ 3 / 

curse 
/ / 

3 2 



4 5 



3 

of marriage, I 

1 



delicate creatures ours, 



/A / V \\ 

2 6 4 2 2 1 i 

And not ' their appetites!" 



e The orotund approximates to the guttural, and is combined with 
aspiration. 

' Guttural, least depth. 

g The orotund approximates to the guttural. 



Self-eoathtng. 

Guttural quality, least depth, aspiration; largest volume; middle 
pitch ; short quantity ; long interverbal pauses. 



192 EXEMPLIFICATION OF 



3 7 

\ \ \ \ \ \ \ 

4 5 4 5 5 5 6 

" I had rather be a toad, | 

3 3 3 8 1 

\ \ \\ \ \\\\\ \ 
6 7 87 7 67 7^ 78 1 

And live upon the vapor of a dungeon, || 

10 3 5 

/ / / \ \ / / / / / 

7 88 10 622 2 44 

Than keep a corner | in the thing I love, | 

4 
/ \ / / / 

2 5 1 2 2" 

For others' uses." * 



Richard III. challenging Richmond. 

Calling and Defiance. 

Orotund quality, greatest depth; largest volume; highest pitch 
medium quantity. 

3 5 

3 55355 3 12 3 

"Now, ' if thou dost not hide thee | from my sword, |l 



5 



3 



«S / / w / I / 

2 3 3 5 4 U 3 4 ■ 

Now, | while the angry | trumpet 



5 6 6 

I sounds alarms, 



/ V\ u / V / / / S 

421 2 46 4 556 

And dying groans | transpierce the wounded air, — || 

3 

V\ \\\ V \ V\ \ \ \, 

> 4 3 34 4 5 1345 4* 

Richmond, | I say come forth, | and singly > face me." | |||| 

Protraction on a line of pitch, of the subtonic vocality which pre- 
cedes the tonic in the accented syllable. 

* High pitch, short quantity. 

* The intonation demanded by this notation, must occasionally 
require the voice to approximate to the orotund. 



DRAMATIC EXPRESSION. 



193 



Vocal Exhaustion. 

Guttural quality, medium depth, aspiration; small volume; low- 
pitch ; short quantity ; complete expiration at each pause. 



3 2 

Richard is hoarse ||' with daring 1 thee |' to arms." 



/ 


/ 


/ 


/ / 


/ 


/ 


\ 


3 


1 


2 


3 2 


1 


2 


1 



Cato contemplating the Imsiortalitt of the Soul. 

Grandeur, Solemnity, and Triumph. 

Orotund quality, greatest depth ; volume, at first, small, but increases 
with the elevation of pitch ; pitch commences very low, but varies as 
specified ; quantity absolutely, but not relatively, the same : conse- 
qnently, the voice approaches to explosiveness on the last line ; on 
the first, the quantity is very long. 



/ / / S\ 

2 2 2 12 1 

The stars I shall fade away, 1 1 1 



/ / / V 

>4 5 5 4 

the sun himself I 



/ / / / \ \ / / ^V 

32 22 343 321" 

Grow dim with age, |' and nature I sink I in years; 



/ . / ////// 

61 2 2 3333 34 4' 

But thou | shalt flourish in immortal youth, 

3 



\\ / / / / / A / / 

12 33 2 34433 

Unhurt | amidst the war of elements, 



/ v \ / / 

12 3 2 12' 

The wreck of matter; 



• / v ■ / \ 

2 3 12 1 

and the crush I of worlds." 



a Low pitch. 
c High pitch. 



6 Middle pitch. 
d Very high pitch. 
High pitch. 



Pescara declaring his Hostility to the Marriage op 
Florinba with Hemeta. 

Surprise, Abhorrence, Scorn, and Rage. 

Guttural quality, greatest depth, occasional aspiration ; very large 
volume ; high pitch ; short quantity on the first and the third line, 
medium on the second. 

17 



194 EXEMPLIFICATION OF 



5 i 

A / / / 3j 

15 5 5 1 

"What, || you choose a Moor, 

5 5 

\ V \ V \ \ W\\ 

2 64 6 78 98 77 

To swell the stream of your nobility, | 

4 6 

/ / \ t\\ *\ 

5 7 3 4 2 1 

With his polluted ' blood 1" 



OSRICK RELATING TO HAMLET THE King's WAGER. 

Effeminacy, Vanity, and Affectation. 

Colloquial quality approximating to the labial, very great sharp- 
ness; average volume; low pitch; long quantity. 

/ / / /•/ / / / ////// \ 
4 23 232 2 1 2323222 

" Three ' of the carriages, | in faith, ' are very dear to fancy, | 
//./// / / \ / \ / / / / / / / 

22332 23 2 2 233 2 23 3 3 

very responsive to the hilts, | most delicate ' carriages, |' and of 
/ / /// \ \ 

2 3 2 3 3 2 1 

very liberal ' conceit." * 



Launcelot Gobbo deliberating on the Propriety of 

LEAVING ShXLOCK. 

Clownish Pertness, Sportfulness, and Self-esteem. 

Colloquial quality, least sharpness; average volume; high pitch; 
long quantity; a slight protraction of the radical of every slide. 

a /<& / q v /' / / / / / / 

234233 32 3223 2 

"Certainly, • my conscience | will serve me, | to run from this 
/ / ^ \ 

2 3 2 1 

Jew, I my master." 



* This and the succeeding example refer to Characteristic Ex- 
pression mainly. 



DRAMATIC EXPRESSION. 195 



/ / / / ^ / ^ \ \ \ \ 

322 3 3 2 1 2323 

"My conscience says, — No; | take heed I honest Launcelot, [I 
/ / / '/ / / / /Q / / / / 

2 3 22 3212212 12 1 2 

take heed ' honest Gobbo, | or, ' as aforesaid, I honest Launcelot 

3 

/ / / ^ y ra / / / / \ 

33432 1 23 32 1 

Gobbo I do not run, [| scorn | running 1 with thy heels." 



General and Special Expression. 

(index notation.) 

Queen Constance to the Arch-duke of Austria. 

Abhorrence and Derision. 

Colloquial quality, greatest sharpness, aspiration; very large volume; 
very high pitch ; quantity, very short, except on the prominent words, 
where it is long ; long interverbal pauses. 

3 
4 V 6 

/ \ / *4 / \ 

"Thou slave! ji thou wretch! j 1 thou coward! || 

3 

V 3 

4 V 

Thou little I valiant! | great in villany! |jj 

/ 6 

2 \ 

Thou ever strong upon the stronger ' side! |ji 

4 / 

V 2 

Thou Fortune's ' champion ! | that dost never fight, I 
/ 4 

2 ^ 

But when her humorous ladyship is by, | 

3 

V 
To teach thee ' safety !" 

* In index notation, and the notation of special expression, the 
number representing radical pitch, denotes, when the radical pitch 
of the preceding syllable is not specified, the interval, and not the 
relative place of the syllable in the current pitch. 

If a dot (.) is placed under the figure, it signifies radical descent. 



196 EXEMPLIFICATION OF 

Macduff to Rosse. 

Grief choking Utterance. 

Orotund quality, great depth, aspiration ; small volume j high pitch ; 
medium quantity ; very long interverbal pauses. 

2 2 ,2* 

A A ///a 

"My children tool" 
Cassius scoffing at Octavius and Antony. 

Guttural quality, least depth ; large volume ; middle pitch ; short 
quantity. 

4 4 3 

4> <& \ \ 

"A peevish ' school-boy, | worthless of such honor, || 

4 3 

Joined with a masker ' and a reveller." 

Hamlet to the Ghost of his Father. 

Amazement and Terror. 

Pectoral quality, least depth, aspiration ; largest volume ; middle 
pitch; very long quantity; frequent median stress, prevalent down- 
ward slide of a second. 

" Be thou a spirit of health, or goblin damned, 
Bring with thee airs from heaven or blasts from hell, 
Be thy intents wicked or charitable, — 
Thou com'st in such a questionable shape, 
That I will speak to thee." 

Richard III. on awakening from his Dream. 
Terror. 
Pectoral quality, great depth, predominant aspiration; large volume ;+ 

* Radical ascent of a second. 

f This denotes an amount of volume which is large for predomi- 
nant aspiration, which greatly diminishes volume. 



DRAMATIC EXPRESSION. 197 

low pitch; varied quantity; prevalent monotone* tremor of a second, 

upward tittles. 

" 'T was but a dream ; 
But then so terrible, it shakes my soul ; 
Cold drops of sweat hang on my trembling- flesh, 
My blood grows chilly, and I freeze with horror." 

The rising consciousness of his situation, prompts re- 
flection in Richard, and gradually mingles the sensation 
of awe with that of terror. This causes the pitch to 
descend. 

Cardinal Beaufort ox the Eve of his Death. 

Despair, Remorse, and Physical Suffering. 

Pectoral quality, various degrees of aspiration, from slight to almost 
total; reduced falsette, guttural modifications: varied amount of the 
volumes of both qualities; varied pitch; quantity generally long; 
complete expiration at many of the pauses ; sudden radical emission 
without great force. 

/ ^ / / \ 

"Bring me j to my trial, |j| when you will! ||| 

3 

n / / / 

2 3 4 5 / 

Died he not || in his bed? | where should he j die! ||||| 
Can I make || men live | whether they will | or no? |||[|] 



Oh ! torture me no more ! | I will | confess. 



3 3 

/ / / / 

2 3 4 4 

Alive again? [| then show me where he is; || 

\ \ \ \ 

1' 11 give a thousand pounds ' to look upon him." 



* This designation is applied to the tremor, when the radical pitch 
of the tittles is unvaried. 

17* 



198 EXEMPLIFICATION OE 

- ■ Colloquial quality, greatest sharpness, small volume, lowest pitch, 
protraction on a line of pitch. 

The parts underscored, except "bring," may be uttered 
with the reduced falsette ; the rest of the passage, with 
the pectoral. 

Henry VI. at the Death-bed of Cardinal Beaufort. 

Pathetic Devotional Entreaty. 

Colloquial quality, least sharpness; average volume; pitch com- 
mences very low and rises to low ; long quantity ; semitone through- 
out, frequent median stress. 

2 2 2 2 

a p \ 

" O | thou eternal Mover ' of the heavens ! || 

Look with a gentle eye upon this wretch, 

2 2 

Oh ! | beat away | the busy meddling fiend, ' 
That lays strong siege upon this wretch's soul, 

2 

And from his bosom ' purge | the black despair!" 

Richard III. wooing Lady Anne. 

Hypocritical Pathos. 

Guttural quality approximating to the orotund, least asperity; small 
volume ; low pitch ; long quantity ; concrete semitone throughout, but 
with radical pitch of a second; occasional rising tri-semitone. 

" Oh ! teach not thy soft lips such cold contempt. 
If thy relentless heart cannot forgive, 
Lo ! here I lend thee this sharp-pointed sword, 
Which, if thou please to hide in this true breast, 
And let the honest soul out that adores thee, 
I lay it naked to the deadly stroke." 



DRAMATIC EXPRESSION. 199 

Shylock rejoicing over the Prospect of Revenge ox Antonio. 
Rancour, Savage Rapture, and Sanguinary Purpose. 

Guttural quality, greatest depth; largest volume ; very high pitch; 

long quantity. 

8 8 

/ / 

s ifh 5 ? 

[f/ z " I am very glad of it ! || I '11 plague him ! | I '11 torture 

3 //?a 

him! ///3 HI I am glad of it!" 

Othello repulsing Desdemona. 

Reproof, Grief, and Love. 

Orotund quality, medium depth; small volume; low pitch; long 
quantity. 

2 



2 2 2 

" O, Desdemona ! | away ! || away ! 



away ! 



a Very low pitch. 

Lear's Confusion in Regard to the Intelligence communi- 
cated BY GlOSTER, THAT CORNWALL AND ReGAN ARE NOT TO 
BE SEEN. 

Senility, Irascibility, Author itativeness, Paternal Affection, Doubt, 
Perplexity, Amazement, Anger, Vexation, Forgiveness.^ 

Colloquial quality, occasionally passing concretely into the falsette, 

*"Kean's utterance of one line — ' O, Desdemona! away — 
away — away, — ' was surely never surpassed. It had in it all that 
belongs to love, to grief, to pity. The very Spirit of love, weeping 
its injuries, and not more than half reproachful, seemed to hover 
over him. His words sunk, by gentle gradations, from reproof into 
compassion, from compassion into a faint, tender, and indistinct 
sound, which itself gradually expired, like the sound of a melan- 
choly echo." — Barry Cornwall's Life of Kean. 

f The last eight affections are portrayed in succession. 



200 EXEMPLIFICATION OF 

greatest sharpness; small volume; varied pitch; long quantity; the 

energy of utterance and intensity of emotion, moulding the tremor 

of age into a single concrete in the whole passage, except the last 

line. 

5 

\ § \ V \ V \ 

"The king I 1 would speak ' with Cornwall; ||' 

5 
2 2 2 2 t\ 

/ / / / / a \ 5 

The dear father | would with his daughter, | speak, | commands ' 

her service; |' 

3 5 5 



5 ■ / A A 

/ 5 5 5 



\ \ 

5 5 



My breath I and blood ! | 



Are ' they | informed I of this? 

3// 3 3 

A2 3 t> P> A A A / 

Fiery?— | the fiery I duke? || Tell the hot duke, that— |' 

2 2 2 

\ til* / / in* 

No, — | but not ' yet, — || may be ' he is not ' well." 
8 Aspirated colloquial quality. 

Cromwell's Grief on the Downfall of Wolsey. 

Orotund quality, least depth; small volume; middle pitch; long 
quantity ; short interverbal, and sentensic pauses. 

" O, my lord, | 

2.2 3 

A 4 / , 2 / 

3f / 2 / 2 

Must I I then leave you ? || must I needs forego | 
2 / 







2 



So good, ' so noble, ' and so true | a master ?" 

Macbeth to the Ghost of Bajtq.uo. 

Maddened Rage, the Courage of Despair, and the Mandate of 
Horror. 

Combination of orotund and guttural quality and aspiration ; largest 
volume ; middle pitch ; shortest quantity. 

* Radical ascent of a semitone. 
t Radical pitch of a minor third. 



DRAMATIC EXPRESSION. 201 



3 3 3 5 

V V \ V v v 

/ 10 \ 8 5 9 84 

"Avaunt ! | and quit ' my sight ! || Let the earth ' hide thee !" 



Hamlet to Guildenstern aud Rosen crastz. 

Irritation and Surprise. 

Orotund quality, very slight depth ; average volume ; middle pitch ; 
short quantity. 

5 5 

5 3 

"Do you think I am easier to be played on than a pipe?" 

Merctttio describing Mab. 

Glee and Fancifulness , 

Colloquial quality, great sharpness, increasing on the concretes ; 
average volume; high pitch; short quantity; shortest intersyllabic, 
and interverbal pauses; great diversity of radical pitch of a second, 
prevalent upward slide. 

"And in this state I she gallops, night by night, 1 
Through lovers' brains, | and then they dream of love, |' 



O'er 



1 \b 

lawyers' I fingers, ' who straight dream on ' | fees, | 



_ 

O'er ladies' lips, | who straight on ' kisses ' dream." 

a and b L east sharpness. 

Gratiano deriding Shtlock. 
Exultation and Mockery. 

Colloquial quality, medium sharpness; average volume; very high 



pitch ; short quantity. 

ft I 3 

Oh! | learned ' judge! I 1 Mark! Jew, — | a learned ' judge! 



Yta 3 ~ 

///> V . \ . \\V 



202 EXEMPLIFICATION OF 

Cassio intoxicated. 

Colloquial quality, varying from the least to the greatest sharpness ; 
average volume;* pitch extending from low to highest; quantity 
greatly diversified ; long intersyllabie pauses, interverbal, very long 
and very short; great protraction of some literal elements. 

/ 4 / 

11 'Fore Heaven, | this is a more • exquisite song! I than the other!" 

Timothx Quaint to Mrs. Fidget. 

Quiet Humor and Droll Sarcasm. 

Colloquial quality, least sharpness; small volume; middle pitch; 
comparatively long medium quantity; frequent monotone phrase, with 
varied current pitch; thorough stress prevalent on accented syllables. 

" No ; it doesn't follow, it generally goes before ; you retail your 
knowledge every week-day, in small paragraphs, and on Sunday, 
you rush forth yourself, fresh from the press, — a walking journal of 
weekly communication." 

Beatrice speaking of Benedick. 

Wit, Mirthfulness, Liveliness, and Ridicule. 

Colloquial quality, very great sharpness, increasing on the concretes; 
average volume; high pitch; medium quantity. 

til* JL ^- . til* . *V_ , 

" In our last conflict, ' four of his five wits I went halting off, | 

_£- ///a . -n. 

and now ' is the whole man • governed with one: |' so that ' if he 

ffji ^ fill /fa . 

have wit enough to keep himself warm, I let him bear it for a 
difference ' between himself and his horse; for it is all the wit 

3 

III* -¥- 

that he hath left, ' to be known as a reasonable creature." 

* The volume should be the same in all diversities of the concrete. 



ORATORICAL EXPRESSION 



203 



Falstaff lauding Sack. 

Corpulence, Sensuality, and Jocularity. 

Guttural quality, medium depth, least vibration, slight aspiration; 
very large volume ; middle pitch ; medium quantity: very long inter- 
verbal, and sentensic pauses. 



"The second property || of your excellent sherris 
warming of the blood." 



is the 



Oratorical ^Expression. 

(complete notation.) 

Magnificence of Illustrative Imagery, shaded with 

MoURNFULNESS. 

Orotund quality, great depth; large volume; middle pitch; long 
quantity. 



5 4 



w / 
4 3 



/ /\ \ \ 

2 2 3 2 1 



"So the great ocean, | comes on ' imperceptibly. ||| Men build 

S /. / /■ S. / 5J 



s s /, / /■ s. / oj A / 

4 322323 3 44 

their huts at the foot of some huge mountain, I 1 and till ' the 



/ \ 

2 3 



/ 



/ / / // \ 

3 2 2 3 2 3 4 

fields that spread out before them, — [I thinking | nothing 



2 3 



A / 

6 2 1 



/ \ \ \ 

2 3 2 1 

so permanent. 



/ / / / \I / / / / / 

: 3 2 2 2 12 2 2 3 2 

But, by and by, | other men ' come that way, I 



2 1 

and the 





i 2 * 

green 



2 12 2222 12 

fields are gone. || The summer fruit ' has long 



2 2 



/ S \ \ 

2 2 2 1 

since ' been gathered. 



/ 



/ / / / / / 

2 2 2 3 3 4 

Where the husbandman I found his 



/ 


/ 


/ / 


\ 


/ 


/ 


\ 


/ 


/ 


/ 


/ 


4 


3 


3 3 


2 


3 


2 


1 


2 


3 


4 


3 



wealth, | the fisher | draws his support; || where the sickles ' 



204 



EXEMPLIFICATION OF 



\ / 

/ 2 1/ 

whispered 



/ / V / & 

2 3 2 2 2 

to the bending corn, | the ships of 



/ / 

2 2 



t 1 i 

war 



/ U7/ 

2 3 2 

go sheeting 



\ / 

"122 33 223 212 1 

I and the old mountain ' has become a grey and wave- 



/ / 

2 3 



\ 

1 < 

by: 

/ / t\ / / / //.'// / // / / / / 

23 1 33 2 3245 433 2345 

beaten crag, | a landmark to the distant mariner, | and a turret ' 

/ / / / t\ 

4 3 3 2 1 a 

where the sea-bird screams." 



8 """Least depth. 

4 Small volume. 

c Small volume, low pitch. 

" Medium depth, medium quantity. 

f Aspirated orotund. 

e Greatest depth. 

* Medium depth, very large volume, high pitch, medium quantity. 

Earnestness, Indignation, and Exculpation. 

Orotund quality, least depth; very large volume; high pitch; short 
quantity. 



/ /> / / / \\ / \ \ / /> / X / // 

2 344 2 2234 323232 34 

"That principle | which neither the rudeness of ignorance can stifle, | 

3 

//■WW / /'> / /\ \ / V\\ 

232343323 3 23 2 4 555 

nor the enervation of refinement ' extinguish; — || that principle |l 

3 3 

/ / /V//\//>/ / // / v 

2 3 31233243 2 32 34 

which makes it base for a man to suffer ' when he ought to act, — |' 



3 

/ // / / ^ // // ///// //// 

2 34 3 32 23 23 32344 3434 

which I tending to preserve to the species the original designations 



3 



/ V/ / *-" / / \ \ \ / / / / /> / 

3 233 1 23233 344 3 5 3 

of Providence, | spurns ' at the arrogant distinctions of man, | and 

5 

V\\ /■//// / // / / \ 

234 55445 43323 2 

vindicates ' the independent quality of his race." 



ORATORICAL EXPRESSION. 205 

General and Special Expression. 
(index notation.) 

CoNQJTESTS OF BoKAPARTE. 

Declamatory Style. — Vivid Narration. 

Orotund quality, medium depth; large volume; high pitch; short 
quantity; prevalence of upward radical stress; emphasis with discrete 
fifth and concrete third ; designation by discrete third. 

"Like the barbarians, ' he conquered Italy ; || and, rolling back to 
its source, ' the deluge that overwhelmed Rome, I he proved him- 
self the Attila of the South. ||| With Hannibal, ' he crossed the 
Alps in triumph. | Africa ' beheld him a second Scipio; |' and, 
standing on the pyramids of Egypt, ' he looked down on the fame 
of Alexander." 

Indiax ExoatrEiN-cE. — Frox a Speech by Farmer's Brother. 

Description. — Force and Grandeur. 

Orotund quality, great depth; large volume; middle and low 
pitch ; comparatively long medium quantity ; prevalent median stress, 
occasional monotone ; emphasis with concrete third. 

" This contest threw the inhabitants of the whole island into a 



great tumult and commotion ; like a raging whirlwind, which tears 
up the trees, and tosses to and fro the leaves, so that no one knows 
whence they come, or when they will fall." 

Character of Bonaparte. 

Acknowledgment of Mental Eminence and Great Actions. Wonder 
mingled with Aversion. Prominent Anaphora. 

Orotund quality approximating to the guttural ; large volume ; 
middle pitch ; medium quantity. 

18 



206 EXEMPLIFICATION OF 

3 / / / / \ 3 

A 21233 A. / 

"Great |' he unquestionably was; — ||| great | in the resources 
V / -\ \ A 

2 2 3 4 3 / / 

of a misguided spirit, — || great | in the conception and execution 

3 



of evil, — I 1 



■ A _V / A 

great ' in mischief, ' like the pestilence, — | great. ' in 



3 

V \ . 

desolation, ' like the whirlwind." 



Aspiration combined with the orotund. 



Apostrophe from a Sermon" of Robert Hall. 

Reverence, Congratulation, Joyous Confidence, Solemn Annun- 
ciation, Admiration. The last four in succession. 

Orotund quality, great depth; average volume; high pitch; long 
quantity ; occasional monotone. 

3 

/ \ / 

"Enjoy | that repose, | illustrious immortals! || Your mantles 

3 

\ \ / 

fell, | when you ascended ; || and thousands, | inflamed with your 

/ , . - . / . ^ 

spirit, I and impatient to tread in your steps, | are ready to swear [' 

by "Him that sitteth on the throne ' and liveth for ever andever,| a i 

3 
A . \ ^ 

that they will ' protect | Freedom in her last asylum, |' and never 

3 3 

desert that cause, | which you sustained by your labors, | and 

3 

/ \ 

cemented with your blood !" 

" Prevalent monotone. 



ORATORICAL EXPRESSION. 207 

The Determination of Hyder An. — Burke. 

Awe, Gloom, Wonder, and Magnitude of Devastation. 

Orotund quality, medium depth, slight aspiration ; average volume ; 
low pitch ; very long quantity ; emphasis with median stress. 

"He resolved, in the gloomy recesses of a mind capacious of 
such things, to leave the whole Carnatic an everlasting monument 
of vengeance ; and to put perpetual desolation, as a barrier, between 
him and those, against whom, the faith which holds the moral ele- 
ments of the world together, was no protection. 

From Patrick Henry's Speech in Favor of Resistance to 
Great Britain. 

Courageous Annunciation of the Inevitability of Resistance. 

Orotund quality, greatest depth ; very large volume ; high pitch ; 
short quantity. 

3 3 8 

v v \ V 

3 5 J 3 / 

"I repeat it, ' sirs, | we must | fight! || An appeal to arms, | and 

3 

/ A / v ^ 

/ 2 3 4 4 « 

to the God of Hosts, ' is all that is left us." 

Enthusiasm, Heroic Resolution. 

Orotund quality, medium depth; volume changes from very large 
to largest; pitch from very high to highest; short quantity. 



6 

3 y 8 

y % y y 

"I know not what course ' others | may take; || but as for me, — | 



12 



3 

/ y v 

8 9 5 



give me liberty, | or give me • death!" 



* The following description of Henry's manner of delivering the 
last two clauses, and of the effect produced by the speech, invests 



208 EXEMPLIFICATION OF 

Didactic Expression. 
(complete notation.) 

Colloquial quality, least sharpness ; average volume ; middle pitch ; 
medium quantity ; comparatively long intersyllabic, interverbal, and 
sentensic pauses. 

/ y \* / V \ ////'/ V \ / / 

2 2 1 12 1 21221232 2 

" Reading ' makes a full man, | conversation a ready man, ' and 
// / /\! \ \\ / / ■ / \ A / / 

32 232 1 23 221 2331 

writing f an exact man. ||| Therefore, ' if a man write little, | he 
\ / V /\\ / / / V / / / y / V 

22 1 2212323 212 112 

needs a great ' memory ; || if he converse ' little, | he wants a pres- 

the notation with an interest which justifies the insertion in this 
place. — 

"'But as for me,' — cried he, with both his arms extended aloft, 
his brows knit, every feature marked with the resolute purpose of 
his soul, and his voice swelled to its boldest note of exclamation, — 
'give me liberty, or give me death !' 

"He took his seat. No murmur of applause was heard. The 
effect was too deep. After the trance of a moment, several members 
started from their seats. The cry ' to arms,' seemed to quiver on 
every lip, and gleam from every eye. Richard H. Lee arose, and 
supported Mr. Henry with his usual spirit and elegance; but his 
melody was lost amidst the agitations of that ocean which the 
master-spirit of the storm had lifted up on high. That supernatural 
voice still sounded in their ears, and shivered along their arteries. 
They heard in every pause, the Cry of ' liberty or death.' They 
became impatient of speech, — their souls were on fire for action." 

* Care must be taken, that, in this example, the delivery does not 
become formally precise, by giving undue volume and quantity to 
the downward concretes. 



DIDACTIC EXPRESSION. 209 



\ \ S / / V / / / \ / /. V \ 

3 3 23 2 3 221223 3 2 

ent ' wit ; || and if he read ' little, | he ought to have much ' cun- 
\ / / / V / / \ / / \ 

2 4334 33 2231 

ning, j 1 that he may seem ' to know | what he does not." * 



General Expression, 

Instruction. — Elegance of Style. 

Colloquial quality approximating to the orotund ; average volume ; 
middle pitch; medium quantity; prevalence of upward slide; em- 
phasis with median stress on interval of a third; designation by 
pauses. 

"In the art of speaking, as in all other arts, a just combination of 
those qualities necessary to the end proposed, is the true rule of taste. 
Excess is always wrong. Too much ornament is an evil, — too 
little, also. The one may impede the progress of the argument, or 
divert attention from it, by the introduction of extraneous matter; 
the other may exhaust attention, or weary by monotony. Elegance 
is in a just medium. The safer side to err on is that of abundance ; 
as profusion is better than poverty, as it is better to be detained by 
the beauties of a landscape, than by the weariness of a desert." — 
W. C. Preston. 

Humor and Ridicule. 

Orotund quality, very slight depth, decreasing on the concretes; 
average volume ; middle pitch ; comparatively long medium quan- 
tity ; frequent monotone phrase with varied current pitch, frequent 
downward slide. 

| "Nothing, in my opinion, can be more ill judged in an orator, 
than to indulge himself in this idle, artificial parade. It is par- 
ticularly unfortunate in an exordium. It is as much as to say, | 

* The false cadence here serves the purpose of emphasis. 
18* 



210 



EXEMPLIFICATION OF 



caveat auditor; J and, for ray own part, the moment I see an orator 
rise J with this menacing majesty, assume a look of solemn wisdom, 
stretch forth his right arm, like the rubens dexter of Jove, and hear 

him open his throat in a deep and tragic tone, 1 1 feel myself invo- 
luntarily braced in an attitude of defence, as if I were going to take 
a bout with Mendoza." | — Wirt. 

a and b ^he g enera [ expression is not applicable to these portions of 
the passage. 

c Neither the monotone nor the downward slide is appropriate to 
this part. 



Poetic Expression. 
(complete notation.) 

Slight Manifestation of Awe and Wiliiness mingled with 
Ideognomy. 

Orotund quality, great depth, occasional aspiration; very large vo- 
lume ; middle pitch ; medium quantity. 



4 5 3 4 



/ / y 

5 5 4 



"Come, ' in consumption's ghastly form, | 



/ \ / A /&/'>% 

3 23 4 2321 

The earthquake shock, | the ocean storm. 



«t\ / / / / 

3 2 12 3 

Come, | when the heart beats 


5 / * 

2 

high 


1 2 

and warm, 


e / / / \* d 

3 2 2 3 

With banquet- 1 song, ' 


2 

and 


\ 

3 


3 3 


dance, 1 


and wine, | 


2 2 2 T 2 1 1 

And thou art ' terrible ; 


llll 


/ , 

2 

th 


/ 

a 


2 

* / 

2 

tea 


M 





POETIC EXPRESSION 



211 



2 

The 



■ % / / / / } 

2 2 2 2 2 

groan, | the knell, | the pall, | 



l 
the 



/ / \ / * »j 

3 3 4 5 5 

And all we know, 1 or | dream, 1 ) 



i / 

2 



Of 



3 

ml\// m \ / \ 

2 12 2 1 

agony, | | are thine." 



2 
■ / 

2 

bier, |' 



fear | 



a High pitch. 

6 Continually decreasing depth. 

Medium depth, large volume, high pitch. 
d Colloquial quality, least sharpness. 

e Greatest depth, a medium degree of aspiration, low pitch. 
f Small volume, low pitch, very long quantity. 
e Colloquial quality, medium sharpness. 

* Greatest depth on " groan ;" depth increasing on the concretes of 
knell" and "pall." 

>' Lowest pitch. 

j Average volume, long quantity. 

* Colloquial quality, great sharpness. 

1 Predominant aspiration. 

m Very long intersyllabic pauses. 

JOXOUSKJESS. 



Orotund quality, least depth ; large volume ; high pitch j medium 
quantity. 

/ A / V / / / / 

4 3343 44 3 

"Thy grasp is welcome, | as the hand 



/ \' / / / / / \ 

2 232232 2 

Of brother in a foreign land ; 



/ 



/ 



Thy summons, 
/ / / 

4 3 2 

That told the 



/ / / 

44 5 

welcome as the cry ' 



4 3 



*0 // . 

2 2 2 2 

Indian isles 



/ \ 

1 2 

were nigh, 



1 2 



2 2 



To the world-seeking 
aandb s ma n volume and long quantity 



^\ \ 

3 2 1 

Genoese 



212 EXEMPLIFICATION OF 



Beauty of Scenery. 

Orotund quality, least depth: small volume; middle pitch; long 
quantity. 

/ ■ / / / \ / P 

3 3 3 2 2 212 

" When the land-wind, | from woods of palm, I 
s r V / / / \ / 

211 1 1 212 

And orange groves, ' and fields of balm, | 
A / / // \ 

1 2 2 2 3 2 1 

Blew o'er the Haytien seas." 



Greater al and Special Expression. 

(index notation.) 

Pathos. 

Orotund quality approximating to the colloquial; small volume; low 
pitch ; long quantity; prevalent upward slide and monotone ; emphasis 
with wave of the second, or median stress. 

" But he who struts his hour upon the stage, | * 
Can scarce extend his fame for half 1 an age; || 

* The caesural and the demi-ceesural pause, belong to those ficti- 
tious instruments of expression which the imagination has presented, 
to supply the deficiency of knowledge. An examination of some 
of the opinions concerning the application of the caesura, develops, 
in regard to purpose and place, that indefiniteness and antagonism 
of view which always accompany the use of imaginary agencies 
or necessities. 

The csesural pause is deemed essential to the euphony of verse 
embracing eight syllables or more; though some writers exclude 
the octosyllabic. Blair, referring to heroic verse, says, — when the 
pause falls earliest, that is, after the fourth syllable, the briskest 



POETIC EXPRESSION. 213 

Nor pen, ' nor pencil, | can the actor I save, | 
The art and artist, | share one common grave. ||||| 

I O let me drop one tributary tear, | I 

I On poor Jack Falstaff's grave, | and Juliet's bier! |||| | 

You, | to their worth, ' must testimony give, | 

'Tis in your hearts ' alone, | their praise ' can live. |||| 

Still | as the scpnes of life will shift away, | 

The strong impressions of their art | decay ; || 

Your children | cannot feel what you ' have known, f 

They'll boast | of Quins and Cibbers of their own." 

aandb Very long quantity. 

melody is thereby formed. When it falls after the fifth, the verse 
loses this brisk and sprightly air, and becomes more smooth, gentle, 
and flowing. When the pause occurs after the sixth, the verse 
marches with a more slow and measured pace ; but the grave, 
solemn cadence becomes still more sensible, when the pause falls 
after the seventh syllable. 

Walker asserts, that " though the most harmonious place for the 
capital pause" (the csesural as contrasted with the demi-caesural,) " is 
after the fourth syllable, it may, for the sake of expressing the sense 
strongly and suitably, and, sometimes, even for the sake of variety, 
be placed at several other intervals; — " and, in an example, places 
this pause after the eighth syllable. Another writer declares that 
"this pause may exist in any part of the line, but is most agreeable 
when found in the middle." Blair truly remarks, that those writers 
who admit this pause after any syllable, if it accords with the sense, 
virtually " maintain that there is no pause at all belonging to the 
natural melody of the verse." But the general opinion, that the 
placing of this pause at or near the middle of the line is most favor- 
able to the music of the verse, does not accord with the expressive- 
ness assigned by Blair to the pause after the seventh syllable. 



214 EXEMPLIFICATION OF 



Splendor and Sublimity. 

Orotund quality, medium depth; large volume; low pitch; long 
quantity; frequent monotone and median stress. 

/ [J / :/ /■ / / P / 

3 2 2 2 1 1223 34 

"But yonder comes i the powerful king of day, | 
/ 0/ / / \* 

2 3 4 3 2 1 

Rejoicing ' in the east. || The lessening cloud, 



In Murdoch and Russell's Orthophony, two demi-csesuras are 
deemed equivalent to a caesura ; as this opinion must generally re- 
sult in placing the pauses away from the middle of the line, and in 
those places supposed to be least adapted to melodious utterance, it 
affords additional evidence of the futility of csesural punctuation. 

As most of the writers who deem the caesura necessary to the me- 
lody of the verse, do not admit the necessity of the demi-ceesura, it 
is not requisite to show, in this place, that it must frequently be de- 
structive to both sense and melody. 

The number and position of pauses, as has been shown, affect the 
melody of language; but it is upon the diversity and relative position, 
that the required expression depends, and, therefore, not, in verse, 
upon a pause after a certain syllable in every line. 

In reading or reciting poetry, few lines occur which do not con- 
tain one pause at least. The main objection to csesural punctuation 
is, that it demands a pause in every line, even when a pause is con- 
trary to the sense, and its omission adds to melodiousness by pro- 
moting variety. In rapid and forcible utterance, a break is manifestly 
improper. 

* The descent of a quartone does net form an harmonious cadence ; 
out the ascent of ing a tone above the preceding syllable, is ex- 
pressive of the verbal import, and the descent of re a third below 
" day," would impart undue solemnity. The pause before in pre- 
vents much unpleasantness of sound. 



POETIC EXPRESSION. 215 

The kindling azure, and the mountain's brow, 
Tipt with ethereal gold, his near approach, 
Betoken glad." 

IMPRECATION, DETESTATION, SCORNFUL REPROACH. 

Orotund quality approximating to the guttural, aspiration ; largest 
volume; middle pitch ; short quantity. 

3 V 5 

a . s 7 \ „ & 

" May their fate ' be a mock-word ! || May men of all lands ' 

6 6 8 

/ . *J ^ 

Laugh out, | with a scorn ' that shall ring to the poles, I 1 

3 4 6 3 

/ / \ / 

When each sword ' that the cowards ' let fall from their hands, | 
A 3 

. 11 t5 

Shall be forged into fetters, ' to enter their souls ! " 



Barbarous Triumph. 

Orotund quality, medium depth ; large volume ; comparatively 
high middle pitch ; medium quantity. 

" Proudly our pibroch has thrilled in Glen-Fruin, 
And Banochar's groans to our slogan replied, 
Glen-Luss and Ross-Dhn, they are smoking in ruin, 
And the best of Loch Lomond lie dead on her side."* 

Humorous Narrative, Imitation of Feminine Alarm and 
Burlesque Male Dignitt. 

Combination of orotund and colloquial quality ; large volume ; 
middle pitch ; medium quantity on the first stanza, long quantity on 
the second; frequent downward slide. 

* The appropriate expression of this passage is derived mainly 
from the syllabic structure, and the number of literal guttural sounds. 
These sounds render the approximation of the orotund to the guttural, 
(otherwise requisite,) unnecessary. 



216 EXEMPLIFICATION OF 

" 'T was long | before the customers 
Were suited to their mind, j 

When Betty | screamed | into his ears' 

5 3 

\ \ 

The wine ' is left behind.' 



■ 3 5 

Good lack!' 



^ \ 

quoth he, ''yet bring it me, 



3 

My leathern belt ' likewise, |' 

/ ^ / / S ^ ^i 

In which I bear my trusty sword, 

When I do I ex-er-cise.' " * 



" Colloquial quality, least sharpness. 

6 Reduced falsette, colloquial modifications, very high pitch. 

c Aspirated quality. 

Weariness, Enforced Merriment. 

Guttural quality, least depth, slightest vibration, aspiration ; very 
large volume; low pitch; short quantity; occasional complete 
expiration. 

3 

"I come,/// 2 III because your horse || would come:|||| 
And, if | I well forebode,/^ || 

3 

& . w 

My hat and wig | will soon be here,/^ 2 ///2 III 

3 

W 
They are upon the road."f 



* Slight protraction of the radical of all the slides. 
f The tittles of the tremor are abrupt concretes. 



POETIC EXPRESSION. 217 

Foppish Ardor, Affectation restraining and modifying 
Fervent Expression of Love. 

Colloquial quality, medium depth; small volume; middle pitch; 
long quantity. 

/ ' /' P 

"Pity my grief, ' angelic fair! | 

3 
P / ^ 

Behold j my anguish and despair! |' 

P / ^ / 

For you | this heart must ever burn, | 

O bless me with a kind return! ||| 

My love, ' no language can express, j 

Reward it then ' with happiness; || 

Nothing on earth but you ' I prize, | 

All else is trifling ] in my eyes, |' 

And cheerfully would I resign 
3 

The wealth of worlds, [ to call you mine." 



19 



PART II. 
GESTURE 



(219) 



GESTURE 



CHAPTER I. 

THE NATURE AND PURPOSE OF GESTURE. 

Gesture is the modification of the motion, position, 
and appearance of the external parts of the body, in 
the visible manifestation of the import of language.* 
Its general or fundamental traits, originate in the tem- 
perament and mental constitution of the gesticulator ; 
and diversity of physical structure modifies the details. 

The four temperaments into which physiologists class 
the varieties of the human constitution, — the lymphatic, 
the sanguine, the bilious, and the nervous, — are as 

* The popular use of the term " gesture " does not include the 
action of the lineaments of the face. On the ancient Grecian and 
Roman stage, the persona worn by the actors deprived them of the 
aid of physiognomical expression, which was therefore not included 
in gesture in the "scenes" of Greece and Rome. In this work, the 
term is employed in its most comprehensive sense ; as is evident from 
the definition given. 

19* (221) 



222 NATURE AND PURPOSE 

clearly manifested by the habitual action, as by the in- 
dications of the bodily structure. 

The lymphatic temperament is characterized by the 
general absence of gesticulatory movements, the sluggish, 
forced, and insignificant character of those which are 
employed, and an unvarying expression in the counte- 
nance. The sanguine is associated in speech with more 
action than the lymphatic, the movements are slow but 
free ; the action of the countenance indicates tendency 
to sensual enjoyments. The bilious temperament is 
marked by frequent, energetic, and decisive gestures ; 
the movements of the countenance are varied and signi- 
ficant. The nervous is associated with action which is 
animated and flowing, though not so energetic and fre- 
quent as that which characterizes the bilious. Grace is 
a predominant attribute. 

This connection of gesture with temperament, refers 
to the circumstances in which gesture is not an unavoid- 
able communicative agent, nor an involuntary accompa- 
niment of speech. 

The restraints placed upon the tendency to gesture by 
the conventionalisms of society, have arisen from the de- 
sire to communicate with the least corporeal efforts ; but, 
though verbal communication demands less physical ex- 
ertion than gesticulatory, it cannot be productive of the 
same ends. 

When from deficiency in verbal language, whether 
from lack or obscurity of words, gesture is indispensable, 



OF GESTURE. 223 

accordance -with the intended meaning is necessarily re- 
garded ; but when the speaker deems that vocal delivery 
alone renders his meaning understood, mere impulse to 
action, unregulated by definite ends, is, in the present 
state of delivery, generally the sole guide in the execu- 
tion. Gesture, thus performed, can only accord acci- 
dentally with the sense. 

Gesture as an adjunct of vocal expression, necessarily 
differs from gesture as a sole communicative agent ; as an 
elucidator of verbal import, from gesture as an unde- 
signed corporeal effect of passion and intensity of vocal 
delivery ; and as an instinctive conformer to thought, 
from gesture as a designed conformer. 

The significant character of action sometimes resem- 
bles the dim intimations and indefinite similitudes, with 
all their great suggestiveness, which distinguish the 
poetry of Milton ; at other times, it approaches to the 
precision of illustration and exactness of resemblance 
which form the distinguishing characteristic of Dante. 

Gesture is rendered expressive by fine and delicate 
touches. It has been justly remarked, "that the more 
perfect the exercise of the will is, over every part of the 
body on which expression, as derived from gesture, de- 
pends, the more perfect will that expression be." But 
mere volition cannot produce the semblance ; the details 
may be adapted to production of a resemblance, and yet 
be, in the aggregation, absurd. This is sometimes occa- 



224 NATURE AND PURPOSE 

sioned by a too literal application, or by making the pro- 
gression invariably follow the order of the words. 

Many words, conveying various ideas, may be em- 
ployed to present the modifications and relations of the 
principal idea ; if the gesture is successively adapted to 
them, confusion in the import results ; the purport of the 
whole, is the subject of gesticulatory delineation ; and 
the illustration of a single word, is frequently adequate 
to the visible exposition of the sentence. These princi- 
ples, by causing the action to turn neither to the right 
nor to the left, but to proceed straight forward to the 
goal, remove all fears of redundancy, — a favorite theme 
with many writers, who, having presented some silly 
mode of gesticulation, very wisely endeavor to limit the 
execution. 

The most direct and complete imitation by gesture, is 
antagonistic to multiplicity of details. "A slight move- 
ment of the head," observes the author of the Chirono- 
mia, " a look of the eye, a turn of the hand, a judicious 
pause or interruption of gesture, or a change of position 
in the feet, often illuminates the meaning of a passage, 
and sends it full of light and warmth into the under- 
standing." Gesticulatory multiplicity is not analogous 
to verbal; mere tautology does not pervert the meaning, 
as the sense of the context determines the sentential 
meaning of the superfluous words : gesture is self-expla- 
natory, and various details are suggestive of different 
objects. If a painter should delineate an object as it 



OF GESTUKE. 225 

appears through a microscope, he would represent some- 
thing that the uninformed eye could not recognise ; so 
the actor who should employ an analogous style of imi- 
tation by gesture, would perplex the understanding by 
his elaboration. 

Caldwell says, that " while engaged in the act of 
speaking, there is no such thing as a rest of the entire 
person." This does not accord with the intermission of 
gesture, to be observed, according to this writer, upon 
some occasions. The significancy of gesture sometimes 
requires immobility of the various parts of the body and 
a fixed position, during the delivery of an entire sen- 
tence. In what is called the absence of gesture, the 
various parts of the body must assume some position, 
and the countenance must have some expression ; those 
who understand the purpose of gesture, make the coun- 
tenance and attitude conform to the sentiment ; those 
whose gestures are mere accompaniments of the volume 
and quantity of the voice, disregard the import of atti- 
tudinal and physiognomical expression. The writer has 
seen a speaker go through a whole speech on a sub- 
ject of great social interest with folded arms. The self- 
sufficiency, presumption, and mental incapacity for the 
conception of the full import of language, indicated by 
this attitude, were doubtless appropriate to the speaker, 
but a less display of these traits would have been 
preferable. 

Mere perception is rarely accompanied with gesture ; 



226 NATURE AND PURPOSE 

which occurs in its highest excellence, when imagina- 
tion, (the extension of conception, and the greatest 
degree of intellectual activity,) prompts it. Great 
mental impressibility, ever unconsciously seeks to pre- 
sent outwardly the image in the mind. Thus, when 
Partridge, in Fielding's novel, beheld the representation 
of Hamlet, " he sat with his eyes fixed partly on the 
Ghost, and partly on Hamlet, and with his mouth open ; 
the same passions which succeeded each other in Hamlet, 
succeeded likewise in him." The demeanor of young 
Polydore in Cymbeline, while listening to the narration 
of old Morgan, is thus described by the narrator, — 

"Even then, 
The princely blood flows in his cheek, he sweats, 
Strains his young nerves, and puts himself in 'posture. 
That acts my words" 

Thus nature acts, according to two of her depicters. 
An additional evidence is afforded by the following de- 
scription of a scene in real life : — " The Arabs, after 
having taken their coffee, and conversed for some time 
with great earnestness and with their usual loquacity, 
observed a strict silence, when the sheik began his tale. 
We could, by the light of the fire, distinguish his signi- 
ficant gestures, his black beard, his white teeth, and the 
various plaits and positions which he gave to his tunic 
during the recital. His companions listened to him with 
the most profound attention; all of them, with their 



OP GESTURE. 227 

bodies Lent forward, and their faces over the flame, 
alternately sending forth shouts of admiration, and 
repeating, with great emphasis, the gestures of the 
historian." 

Quintilian's precept, interdicting the imitation of those 
objects which are the subjects of discourse, is one of the 
instances in which the rules of art conflict with nature. 
Animadversions upon imitative action, generally arise 
from an improper subject or mode of imitation. The 
condemnation of this kind of action by the Abbe du Bos, 
seems to have reference to merely literal gestures, or 
the "suiting of the action to the particular signification 
of the word which the speaker pronounces." Quintilian, 
in illustrating the precept referred to, instances the con- 
temptuous railing of Cicero, in his oration against Verres, 
when he describes Verres leaning upon a courtezan, and 
the indignant denunciation of the cruelties inflicted by 
Verres upon Publius Gravius Cosanus, — and says, that 
an orator ought not to copy the attitude of Verres hold- 
ing a vile courtezan in his arms, nor that posture and 
movement of the arms which demand the action of an 
executioner. But the application of these views of the 
Roman rhetorician, renders expression inadequate. The 
means best adapted to the end, is what the orator re- 
quires. To delineate solely the disdain, aversion, aston- 
ishment, and horror, with which Cicero contemplated the 
actions of Verres, as recommended by Quintilian, cannot 
be as effective in arousing similar sensations in the minds 



228 NATURE AND PURPOSE 

of the audience, as the bringing of the actions of Verres 
to the eye by a suggestive gesture ; which does not re- 
quire an imitation of a whole nor of various parts, but 
of a distinguishing trait. 

The mimicry attributed to Colley Cibber, of imitating, 
with his forefinger and thumb, the snuffing of a candle 
on the words of Wolsey — 

" 'T is I must snuff it, 
And out it goes, — " 

was doubtless very ridiculous. The absurdity consisted 
in the representation of the means, instead of the end. 
The hand should seemingly push the light away, and 
then fall to rest : the latter gesture denoting the con- 
summation of the act. 

A distinguished actress of the present day, in utter- 
ing, in the character of the Countess in Knowles's play 
of Love, the lines — 

" I never dreamed of an abyss so hideous, 
And to be standing on the very brink oft, — " 

held the arms upwards, leaned forward, and gazed 
downward with an expression of horror in the counte- 
nance. As a material abyss is not the subject of the 
Countess's thoughts, no reference to it should be made in 
the expression. The Countess should recoil with aston- 
ishment and terror, as if retreating from a present 
danger, without regarding the verbal import. 



OF GESTURE. 229 

The injunction of Hamlet to the player, — " To snit the 
action to the word, — " evidently refers to the accord of 
the energy and extent of the one, with the volume and 
quantity of the other, and to the conjoint execution. 
To apply the precept to verbal import, is to recommend 
action entirely literal ; and "word," in the latter part of 
the epanodos,* cannot denote verbal signification, nor, 
by metalepsis, the import of the phraseology. 

Analogous to the conforming of gesture to verbal im- 
port, is the following of the arrangement of words in 
the progression of action. To adapt the action to the 
signification of words as they successively occur, fre- 
quently makes it at variance with the sentiment ; even 
when the illustration of verbal import furnishes the ap- 
propriate expression. To bring both hands (the ends of 
the fingers touching,) to the breast, and afterwards ex- 
tend the arms to their extreme limits, right and left, in 
conformity to the direction of Austin on the line — 

'• Who centred in our make such strange extremes," 

is to reverse the proper progess of the action. Though 
the gestures which should accompany " centred," " make," 
and "extremes," are directly antagonistic to the signifi- 
cations of the words, they accord with the general sen- 
timent. 

Mere word illustration is a result of the antagonism be- 
tween natural and conventional action. The meaningless 

* " Suit the action to the word, the ivord to the action." 

20 



230 NATURE AND PURPOSE 

action of convention, and the demands of nature for 
significance when conflicting, lead to the improper ap- 
plication of significant action, — the giving of meaning 
to gesture without reference to the meaning of language. 

"Amongst the moderns," says Sheridan, "the insti- 
tuted signs of gesture were not founded on nature, but 
caprice and fancy, and obtained their whole force from 
fashion and custom. Consequently, they had neither 
meaning nor beauty to any but the natives of each 
country, and were totally different from each other in 
the several countries." This kind of action, being al- 
most useless for the purposes of dramatic and oratorical 
communication, inevitably falls into disuse and neglect. 
From the little which is effected by its execution, the 
general opinion of the nature and purpose of gesture 
has been deduced. But "Phidias could have done 
nothing with an old tree and a fish-bone, or Homer with 
the language of New Holland." 

A writer, in commending the insufficient action of 
British, speakers, observes: — "It must be allowed, that 
in the time of the ancients, action had more influence 
in eloquence than at the present time. The style of 
their orators being consonant with it, and the number of 
their auditors requiring it as a type of words, which 
could not always be distinctly heard by such multitudes. 
Therefore, a style of action which was admissible in 
them, would, in us, be deemed extravagant and un- 
natural." 



OF GESTURE. 231 

Whatever may be the opinion of a mode of delivery 
which communicates through two avenues to the mind 
instead of one, its effectiveness will ever recommend its 
employment ; and a knowledge of its character shows 
that it is not " extravagant and unnatural." 

The " influence" of gesture "in eloquence," is far 
greater than this writer imagined. Gesture not only 
communicates what is vocally incommunicable, but acts 
as a stimulus to thought and imagination. 



232 DIVERSITIES OF GESTURE 



CHAPTER II. 

DIVERSITIES OF GESTURE. 

The accord of voice and gesture embraces not only 
consonance of execution,* but analogy in significant re- 
lation to the subject expressed. The significant character 
of action is frequently similar to the relation borne by 
the literal acceptation of a metaphor, synecdoche, me- 
tonymy, allusion, and irony, to the figurative. This 
mode of gesture is symbolically significant. Like vocal 
expression, gesture may present either a sign without 
analogy or resemblance, or may present an express imi- 
tation. The designations significative and imitative, are, 
therefore, alike applicable to gesture and voice. Gesture 
is denotative of character, but unlike vocal characteristic 
expression, it may express character solely. The gesture 
appropriate to the character, continuing when the voice 

* It must not be understood by consonance of execution, that action 
always accompanies the voice ; as one may sometimes succeed the 
other. In irony there may be antagonism ; and not only in significance, 
but in mode of execution. The requisite import of gesture may 
sometimes demand diverse execution. 



DIVERSITIES OF GESTURE. 233 

ceases, or, rather, when the expression of thought and 
emotion ceases, may be denominated personative. 

Action is varied by the subject and occasion of its 
employment. In pathognomy, the variations in the de- 
meanor of the body range from the greatest muscular 
contraction to the extreme of muscular relaxation, from 
the slightest movement of a hand or foot to the most 
extended movements of the hands and feet. The most 
limited pathognomical action of any part of the body, 
generally requires the consentaneous action of the various 
other parts. Ideognomy is not characterized by the 
state of the muscles, nor the energy or forcelessness of 
the movements in pathognomy : to delineate even the 
idea of a passion, presents but a faint imitation of the 
expression of the passion itself. The motions and atti- 
tudes are more multiform, though not so sudden in transi- 
tion. The angular and rectilinear movements are less 
frequent. Isolated gestures of a single part of the 
body occur, but the unity and connection of the move- 
ments and positions of various parts, are always pre- 
served. 

When the pathognomical action is voluntary, the dis- 
criminating properties are not so prominent, and it is 
readily associated with the ideognomical. 

Soliloquy, colloquy, oratory, and recitation, require 
four different styles of gesture. Soliloquial action is the 
most circumscribed form. It should never be apparently 
20* 



234 DIVERSITIES OF GESTURE. 

intended for illustration, but should appear to arise from 
the force of the sentiment. It consists mainly of varying 
attitude, physiognomical expression,* and of movements 
of the hand from the wrist, and the arm from the elbow. 
The transition of attitude, should be but slightly per- 
ceptible, and the movements of the arm at the elbow, 
should be sufficient to prevent stiffness. In colloquy, 
the hands are extended further from the trunk, various 
movements of the head are frequently employed, and 
the motions and positions of all parts of the body 
comply with the demands of illustration, but with limita- 
tion in the execution. Oratorical action requires ex- 
tended movements of the arms, both of which are often 
employed simultaneously, — both executing the same 
movement, or assuming the same position, or the gesture 
of one hand, is subordinate to that of the other ; some- 
times, delineation requires the gesture of one hand to 
be dissimilar to that of the other. The action of every 
part of the body corresponds, in freedom of movement, 
to that of the arms. In recitation, the gesture is greatly 
diversified. It may be soliloquial, colloquial, or orato- 
rical, in character. Imitative gesticulatory expression 

* Cibber, speaking of Betterton, says, — "In all his soliloquies of 
moment, the strong- intelligence of his attitude and aspect, drew you 
into such an impatient gaze and eager expectation, that you almost 
imbibed the sentiment with your eye, before it could reach your 
ear." 



DIVERSITIES OF GESTURE. ~ 235 

leads to frequent changes in the movements of the head 
and feet, and in the general bearing of the body. 

The action here assigned to soliloquy, colloquy, and 
oratory, is not exclusive of other modes. The character- 
istics of oratorical action may be introduced in soliloquy, 
but soliloquial action, unless illustrative of character, is 
rarely applicable to oratory. In colloquy, every form 
of action occurs. Exclusive pathognomy is alike in 
every form of delivery. Physiognomical expression is 
also alike in every form of delivery when employed for 
the same end. Figures of thought are likewise produc- 
tive of similarity. 

The drama requires, with the highest degree of ex- 
pressiveness, the colloquial and the soliloquial form of 
gesture. Though in dramatic oratory, the action may 
sweep or glide through a greater extent than in colloquy, 
the form is essentially colloquial. Dramatic action pre- 
sents a miniature resemblance, oratorical, a full-length 
outline. The illustration of colloquial acts (attention, 
acquitting, dismissing, giving, &c.,) affords a variety of 
action, whose peculiar application is not required in 
oratory, though requisite in dramatic representation. 
The expression of some passions never occurs in oratory ; 
and that vehemence of emotion which naturally over- 
powers reason, is seldom appropriate to oratorical deli- 
very. But it is not true, that " the expression of anger, 
of contempt, or of any vehemence of passion, finds no 



236 DIVERSITIES OF GESTURE. 

place in oratory," as Caldwell asserts. Jealousy, 
peevishness, and malice, are examples of the emotions 
whose expression is inapplicable, and shame and re- 
morse, of those whose moderate feeling only, is admis- 
sible. But the idea of every passion, and of every 
colloquial act, may be a subject of oratorical delineation. 



MOTION. 237 

CHAPTER III. 

MOTION. 

The parts of the body which are to be viewed as the 
instruments of gesture, are the head, the lineaments of 
the face, the shoulders, the arms, the palms of the 
hands, the fingers, the trunk, the lower limbs, the knees, 
and the feet. The diversity in the movements of these 
instruments, arises from the direction, extent, and mode 
of those of the head, arms, trunk and feet ; the direction 
and mode of those of the hands, change in the disposition 
of the shoulders, fingers, and lineaments of the face, 
and in that of the lower limbs and knees in diversifying 
the general posture of the body. 

The erect position of the body, with the feet parallel 
and touching, the fingers of one hand laid over those of 
the other on the middle of the breast, may be considered 
the centre from which the greater part of the motions 
of the head, trunk, feet, and arms, emerge, and to which 
they converge. Towards every horizontal point of the 
circuit of action, the head, trunk, and feet, may move 
horizontally; (each foot moving through a semi-circle.) 
Each hand,* while the arm moves at full length horizon- 

* The hand indicates the main direction of the movement of the 
arm, though the hand and arm do not always move simultaneously 
in the same direction. 



238 MOTION, 

tally, cannot describe a full semicircle, but can, when 
the arm moves vertically. 

The points reached by the unbended arms, as they 
move backwards, are the extreme limits of the segment 
which passes in front of the body ; which is the hori- 
zontal termination of the movements of the arms. Two 
similar segments, parallel with this, — one at the upward 
limit of the motion of the arms, the other, at the downward 
limit, — are the upward and the downward terminations 
of the movements, unless they are directed towards the 
zenith or the nadir. When reference is made to the 
past, or to objects which are, or may be deemed, behind 
the speaker, change in the position of the feet, frequently 
places the arm on a line with the front of the body. 

The movements of the head, are lateral, vertical, 
backwards, and forwards, and are necessarily very 
limited in extent, but sufficient to direct the face towards 
almost every point to which the hands move in speech. 

The motions of the trunk are the same in direction 
as those of the head, but are carried further. 

The action of the foot is a rise from the ground, fol- 
lowed with a forward, backward, or lateral movement. 
But the foot may sometimes descend to the place from 
which it moves. 

One part of the body is frequently instrumental in 
augmenting the sphere of action of another part : as 
when the arm moves the hand ; the trunk, the head ; and 
the feet, the trunk. There may be a combined move- 



MOTION. 239 

ment of two or more parts, to effect a particular execu- 
tion of the action of a single part. Thus, the trunk, 
when aided by the action of the feet, may move the head 
to a greater distance from the centre of action, than the 
hand attains by the instrumental action of the arm 
solely. When a foot moves in any direction, and the 
body inclines in the same direction, the hand is enabled 
to reach its ultimate extension ; — which is the verge of 
action. In combined action, when expression does not 
require perfect singleness of motion, various parts of the 
body have movements independent of the general 
movement. 

The hand moves towards every part of an imaginary 
vertical circle, whose centre the wrist occupies. It also 
turns upon the wrist, in those modes of action called 
pronation and supination, and describes curves and 
circles, vertically and horizontally, and at every degree 
between the perpendicular and the horizontal.* 

One or both of the shoulders may be raised or de- 
pressed, moved backwards or forwards. 

The fingers and thumb separate, close, bend, move 
towards and from the palm ; and the ends of the fingers 
move towards and from the end of the thumb. These 
actions may be executed by one or more of the fingers. 

The movements of the countenance embrace the 

* When the hands are combined, the movements consist mainly 
of turns on the wrist, and single or continuous change of place of 
contact. 



240 MOTION. 

arching <jf the eye-brow, and the consequent wrinkling 
of the forehead ; the approximation of the inner ex- 
tremities of the eye-brows, the lowering of the brows ; 
the various movements of the eye-ball ; the raising and 
falling of the eye-lid ; the dilation of the nostril ; the 
raising of the nostril, and the accompanying wrinkling 
of the nose ; the elevation of the cheeks ; the elevation, 
depression, compression, and protrusion of the lips ; the 
retraction and depression of the angles of the mouth ; 
the biting of the " nether lip;" the grinding of the teeth; 
the working of the jaw; general expansion and con- 
traction; &c. 

To bend is the sole action of the knee, and it is 
always in the direction of the toe. The movements of 
the lower limbs accord with the movements of the feet. 

The expressiveness of gesture depends as much upon 
the mode, as upon the direction and extent of the move- 
ment. The description in Payne's tragedy of the action 
of Brutus, as he gives the signal for the execution of 
his son,* presents only a partial idea of the appropriate 
gesture. The rigid state of the muscles gives a sudden- 
ness to the progression, and an abruptness to the termi- 
nation of the action of the lower limbs and the arm, 
which display the antagonism between the inclination of 
the mind and the act, and the enforcement by the will. 
The inflexible state of the instruments of gesture being 

* " He rises, and waves his hand, convulsed with agitation ; then 
drops on his seat, and shrouds his face with his toga." 



MOTION. 241 

incompatible with undulatory motion, there is but the 
slightest deviation from the direct line. The rise is an 
impeded start, and the action of the arm, an angular 
jerk. Between these two actions, there should be an 
interval. 

The terms magnificence, boldness, energy, variety, 
and grace, are applied by Austin to various modes of 
gesture, which do not comprehend the relation of action 
to the subject of illustration. 

Magnificence, embraces those extended movements 
which sweep to the terminating point in straight or 
curved lines, from a preparatory or corresponding pos- 
ture or motion ; or glide in straight, curved, crooked, or 
mixed* lines. In this mode of execution, a complete 
period of gesture may occur.f 

Boldness, is transition to antagonistic gesture, or the 
passage to an action which does not seem, as in magni- 
ficence of gesture, to flow from the preceding, but to be 
the reverse of it ; but reverse action does not imply con- 
trary movements, as preparatory action is generally in 
the direction opposite to the main movement. Prepara- 
tion and adapted commencement do not occur in bold 
execution ; the motion is undeviatingly to the termina- 

* Geometricians apply this epithet to a line composed of straight 
and crooked lines. 

f A period of gesture may be defined as one action, consisting of 
a preparation, commencement, progression, suspension, continuation, 
and termination. These constituents explain themselves. 
21 



242 MOTION. 

tion, though the hand can sweep through crooked and 
mixed lines. In rapidity of motion, boldness greatly 
exceeds magnificence, but it has not the extent nor con- 
tinuity. Rapid change in general posture, is a distin- 
guishing property. 

Energy, is discriminated from boldness, by the ab- 
sence of abruptness. It implies the association of great 
muscular exertion with swiftness. The movements of 
the arm are generally, either in a direct line, or in the 
form of an acute angle of less than forty-five degrees ; 
the latter resembles a blow and its rebound. The foot 
descends with force. Energy is not a characteristic of 
the motion of the trunk, though it may move in sym- 
pathy with the other parts of the body; but it may 
characterize the action of the head and shoulders. 

Variety, does not require any special form of gesture, 
nor should it be a purpose of the speaker. While ges- 
ture is endued with meaning, and conformable to senti- 
ment, sameness is impossible. In vehement pathognomy, 
there may be a degree of uniformity, but it is necessary 
to the exposition of the mental state ; designed diversi- 
fication is incompatible with mental supremacy of pas- 
sion. Though variety results from diversity in the ob- 
jects of delineation, it is nevertheless an absolute 
quality. 

Grace, is the consistent and harmonious action of the 
various parts of the body, the adaptation of one move- 
ment to another, and of the pace to the extent and form 



MOTION. 243 

of the movement. The greater the deviation from a 
direct line, the slower the motion. 

The distinctive properties of magnificence, boldness, 
and energy,* here presented, exclude modes of execu- 
tion which are especially requisite in intellectual gesture. 
These may be included in two classes — the Limited and 
the Moderate. 

Limitation of gesture is restriction where the instru- 
mentality is adapted to a wide range. It is the bringing 
of the executive character of magnificent action into the 
sphere of the colloquial and the soliloquial form. 

Moderation of gesture differs from the other qualities, 
in not requiring accompanying action. As the gesture 
is generally confined to a single instrument, the area of 
the circuit is comparatively slight ; but this does not re- 
sult from limitation : for, though the most extended 
movements are avoided, the hand can move from the 
wrist, and the arm from the elbow, to the full length ; so 
also can the head and the feet, when the instrumental 
accompaniment of the trunk does not occur. Though 
the motion of the active member is independent, grace 
requires that it should harmonize with the position of 
the rest of the body. Swiftness without great extent, 
force with slowness, are comprehended in this style of 
action. 

* Variety is not a distinguishing trait; and grace, as is evident, 
is rather an accompaniment of other qualities, than a separate 
quality. 



244 MOTION. 

In ludicrous expression, awkwardness, constraint, 
sameness, affectation, inconsistency, and discordance of 
gesture, may be introduced with propriety. 

The tremulousness of a part or of the whole of the 
body, may be included in motion; but mere outward 
manifestation of internal action, is embraced in attitude 
or position. 

The pressure of the hand upon whatever object it may 
be placed, is only a form of position. 

Motion is sometimes productive of sound : as in the 
forcible contact of the hands, or of the hand with any 
other part of the body ; the stamping of the foot, the 
smacking of the lips in comic action, &c. 



POSITION AND ATTITUDE. 245 



CHAPTER IV. 

POSITION AND ATTITUDE. 

The attitude of the body, and the position of parts 
of the body, denote, in gesture," the arrangement of the 
instruments at the cessation of motion. As motion may 
cease at any stage of its progress, and as the executive 
form of the instrument is continually changing, attitude 
and position have necessarily the same gradation and 
variation as motion. But the expressiveness of gesture 
being partly derived from the varying appearance of the 
surface of parts of the body, internal, as well as external 
motion, is effective of the significant character ; and as 
motion, in a gesticulatory sense, does not imply general 
corporeal motion, the effect of muscular action upon the 
surface of the body, may be included in attitudinal ex- 
pression, as a mode of execution. The movements of 
the countenance -which have been enumerated, constitute 
but a small part of physiognomical expression ; and the 
same position of all the instruments of gesture, may be 
rendered variously expressive. Byron's description of 
the horror and despair of Conrad on beholding the corse 
of Medora, — 

" He turned not — spoke not — sunk not ; fixed his look, 
And set the anxious frame that lately shook, — 
21* 



246 POSITION AND ATTITUDE. 

presents the Corsair in an attitude which differs little, in 
mere outline, from a tranquil standing posture. But 
the pallor of the cheek, the full gaze of the eye, the lips 
parted but concealing the teeth, the stiffening of the 
sinews of the neck, the drawing of the arms towards the 
trunk, the bending of the fingers and thumb at the first 
joint, the angular position of the lower limbs, entirely 
change the appearance of the attitude. 

The passing of motion before the eye, may elude per- 
ception, but the stationary character of attitude and 
position, fixes attention. To require the movements to 
terminate abruptly at certain points, makes the attain- 
ment of the position, the object of the movement : but 
the significancy of gesture may reside in the motion 
solely, or in both the motion and the terminating position. 

The relative positions of the various corporeal parts, 
are mainly determinative of the significancy of attitude. 
The" direction of the look, and expression of the counte- 
nance, often give the special significancy, when the posi- 
tion of the hand has a general and indeterminate import. 
A change in the position of a single instrument, may 
vary the import of the attitude. 

The character of the variation in position, of the head, 
trunk, feet, and arms, necessarily depends upon the 
magnificence, energy, moderation, and limitation, of the 
motion. 



ELEMENTS OF GESTURE. 247 



CHAPTER V. 

ELEMENTS OF GESTURE. 

All the motions and positions practicable by the in- 
struments of gesture, may, for convenience of designa- 
tion, be deemed modifications of certain fundamental 
distinctions. The enumeration of all the modifications, 
would present a prolix list, of no practical use, as they 
can be readily ascertained by mere corporeal practice ; 
and the principles which define propriety of application, 
are the proper objects of the student's attention. 

The particular movements and positions of the diffe- 
rent parts of the body which have been described and 
classed by Austin, and adopted by others, when viewed 
as discriminating characteristics, admitting various modi- 
fications, when required by the sentiment, or the har- 
monizing of the gestures of different bodily parts, con- 
stitute a large portion of the elements of gesture. 

The following reference to various actions of the dif- 
ferent instruments, contains some particulars not desig- 
nated in the general view of motion and position. 

The Feet and Lower Limbs. 

Firmness of position with facility of change, gives ease 
to the posture of the body, and the movements of the 



248 ELEMENTS OF GESTURE. 

feet, and secures grace in the accommodating action of 
the standing figure. This is attained by supporting the 
weight of the body on one leg principally, and by placing 
the other in a position to preserve the balance of the 
body. The supporting foot rests firmly with its whole 
length upon the ground ; the other rests lightly, with 
the whole length, fore-part, or ball of the great toe, 
upon the ground. 

The First Position of the Right Foot. 

In this position, the right foot is advanced before the 
left, in a manner which forms an angle of about seventy- 
five degrees. The principal weight of the body is on 
the left foot, though the right rests with its whole extent 
upon the ground. 

The Second Position of the Right Foot. 

In this position also, the right foot is advanced, but it 
now sustains the principal weight of the body. The 
heel of the left is raised, and turned a little inward. 
The angle, thus formed, is somewhat more than ninety 
degrees. Only the ball of the left great toe touches 
the ground. 

The first and the second position of the left, are re- 
spectively similar to the first and the second position of 
the right. The weight of the body being mainly upon 
the right foot, in the first position of the left, — and upon 
the left, in the second position. The left is the ad- 
vanced foot in both positions. 



ELEMENTS OF GESTURE. 249 

The distance between the heels varies from a separa- 
tion of about three inches, to the extent of a long step. 
The extent of the base of support in merely standing 
posture, depends upon the stature of the speaker : the 
tallest persons requiring the widest base. As the sepa- 
ration extends, the angle is enlarged ; but in the second 
positions, the enlargement is but slight. All the ex- 
tended front and lateral movements, bring the advanced 
foot into the second position. The most extended back- 
ward movements, into the first ; but merely the toes of 
the free foot rest upon the ground. In great energy, 
and, sometimes, in boldness of gesture, the whole extent 
of both feet, in the second position, rests upon the 
ground ; this diminishes the extent of the angle. In 
old age, the pressure is equal on both feet, and the ex- 
tent of the angle is generally less than seventy-five 
degrees. 

To advance, to traverse, to retire, to cross, to start, 
to stamp* are the pedal movements presented by Austin. 

* To advance from the first position, is to pass into the second 
position. To advance from the second position of either foot, is to 
pass into the second position of the other foot. To traverse, is to 
move laterally in the direction of the free foot. This movement 
terminates in the same position as the advance. To retire from the 
first position of either foot, is to pass into the same position of the 
other foot. To retire from the second position, is to pass into the 
first position of the same foot. To cross, is to move in a direction 
contrary to that of the free foot. To move from the first position, 



250 ELEMENTS OP GESTURE. 

The last two motions, it is evident, refer to no particular 
direction. The former is a sudden, rapid motion, with a 
forcible descent. The latter may be considered, in ges- 
ture, an action of the knee, as it causes little change in 
the place of the foot. 

The keeping of the toes outward to the extent of the 
angles, tends to restrict the positions of the feet, at the 
termination of the advancing and the retiring movements, 
to oblique points. This, with the directly right and the 
directly left lateral movement, excludes the feet from 
the anterior and the posterior parts of the circle of pedal 
action. But so long as the angular proportions are ob- 
served, the feet may be placed at any point of the circle. 
Deviations from the angular proportions, are, neverthe- 
less, occasionally proper in dramatic action. They occur 
in the irregular movements of intoxication, in the short 
staggering step of astonishment and alarm, and the 
dragging step of physical exhaustion. In conveying the 
idea of flight with magnificence of action, the feet are 
placed on nearly parallel lines, one foot being in advance 
of the other; the obliquely forward inclination of the 
trunk, throws the weight of the body upon the ball of 
both feet. 

the free foot must be carried before the other, and the feet must 
assume either the first or the second position of the free foot, but 
rarely the former. To move from the second position, the free foot 
must be carried behind the other, to the first or second position of 
the other foot. 



ELEMENTS OF GESTURE. 251 

As regards the action of the lower limbs, — the greater 
the pressure of the supporting foot in the first position, 
the more nearly the lower limb approximates to the per- 
pendicular ; and the greater the pressure of the moving 
foot, the greater the bend of the knee. The harder the 
supporting foot is pressed upon the ground in the second 
position, the more the knee is bended ; the greater the 
pressure of the free foot, the less is the bend of 
the knee. When the body is at ease, unless the pos- 
ture should indicate rude strength, there should be a 
gentle inclination of the supporting, and a gentle bend 
of the free limb. 

The Trunk and Shoulders. 

The ordering of the positions and motions of the 
trunk and shoulders, is one of the principal sources of 
the diversity in personal mien. Beside the forward, the 
backward, and the lateral movements, of the whole 
body, which accord with the extended movements of the 
feet, the trunk inclines forwards and laterally from its 
base. The breast may rise or fall, and the whole trunk 
may be elevated or depressed. In burlesque assumption 
of dignity, the part of the trunk below the diaphragm, 
may be protruded. 

The gestures of the shoulders have been presented. 
In their forward movements, they tend towards the 
middle of the breast; in their backward, towards the 
middle of the back ; in their upward, towards the head. 



252 ELEMENTS OF GESTURE. 

These actions are generally appropriated to comic illus- 
tration, but occasionally occur in tragic pathognomical 
action. 

The neck has not been included in the instruments of 
gesture ; being viewed as an agent for moving the head. 
But the lengthening and shortening of the neck, are not 
always merely instrumental actions, as they sometimes 
have significations of their own. 

The Head. 

The action of the head has two fundamentally distinct 
forms ; — the head either turns upon the neck as its axis, 
or the neck follows the movements of the head. The 
former is merely for the purpose of directing the face 
towards various points. To prevent stiffness of motion, 
the horizontal movements must be of the shortest con- 
tinuance, and pass into the vertical. But the motions 
of the head are not restricted to the vertical and the 
horizontal, as the head can move at intervening points, 
and it can be elevated and depressed. 

The Arms. 

The positions of the arms, with all modifications, at 
various points of the segments referred to in the chapter 
on Motion, are all, with one exception, embraced in the 
downward, the horizontal, and the elevated termination 
of motion, in the cross, the forward, the oblique, the 
extended, and the backward position, as defined by 



ELEMENTS OF GESTURE. 253 

Austin.* The exception is the carrying of the arm to 
a position parallel with the front of the body, "which may 
be designated the Extended Cross Gesture. These di- 
visions, whether vertical or horizontal, are at intervals 
of about forty-five degrees. 

The inward motion of a single arm from the front, 
unless it carries the hand to some part of the body, is 
generally towards the backward part of the segment, 
particularly when the movement is a return from an 
outward motion, or a preparation for one. When the 
inward movement is the principal part of the gesture, 
it frequently tends towards the centre of the breast. In 
magnificence of gesture, there is a general tendency, 
when the action of both arms corresponds, to move out- 
wardly, from a point in front of the centre of the 
speaker's breast, and near to the breast, and inwardly, 
to the same point. 

The terminating points of all movements of the arms 
are reached under two circumstances ; — the hand may 
be directed towards the point, or it may reach the point 
incidentally. The former occurs mainly when the hand 
describes direct and curved lines ; the latter, when mul- 
tiform progressions are described, in which the termina- 
tion of the motion is generally indefinite. 

* These designations have reference to the direction of the posi- 
tion of the hand from the centre of the speaker's breast. 

22 



254 ELEMENTS OF GESTURE. 

The Hand. 

1. The Palm. 

As the hand moves vertically from the wrist in an 
upward semicircle, three distinct positions of the palm 
are attained. These are marked by the downward 
thumb, the vertical fingers, and the upward thumb. The 
designations downivard thumb, vertical palm, and up- 
ward thumb, therefore denote these positions of the 
palm. If the hand, when it has reached the limit of 
the semicircle, with the upward thumb, should move 
gently downwards and outwards — the fingers free from 
all rigidity — to the extent of the downward movement 
of the hand in this position, the palm would attain a 
position which is denominated natural. This state of 
the palm, or a slight modification of it, is necessary to 
the describing of a complete circle with facility by the 
ends of the fingers in the circular movements of the 
hand. When the palm is turned outwards, or from the 
body, the position is styled outward palm ; when turned 
inwards, it is called inward palm. The epithet down- 
ward, may be applied to the palm when the fingers point 
downwards. The downward and the vertical palm may 
be either inward or outward. 

2. Disposition of the Fingers. 

In what is called the natural state of the fingers, the 
forefinger is held nearly straight, and is separated from 
the middle finger. The middle and the third finger, 



ELEMENTS OF GESTURE. 255 

which gently touch each other, are slightly bent. The 
little finger is more bent than these, and separated 
from the third finger. The thumb is turned slightly up- 
ward and outward. 

The level state of the fingers, is that in which they 
are placed on a line with the palm. 

The extended position, is the lateral separation when 
the fingers are held level. 

The clenched state, presents the fist. 

The index position, is that in which the forefinger is 
held straight, or nearly straight, while the others are 
turned inward. The bending of the fingers varies, from 
the least turn at both joints to the pressing of the tips 
against the palm. The thumb either inclines slightly 
downward from the parallel of the forefinger, or is 
placed against the middle finger. 

The separated position, is when the fingers and thumb 
are parted in different directions. 

The collected position, presents the ends of the fingers 
approximating to the end of the thumb, or touching it. 

The holding state, is the placing of the end of the 
fore, or the middle finger, or of both fingers, with a 
slight pressure, against the end of the thumb. The 
fingers which do not touch the thumb are more or less 
bent. 

The clasped position, is when the fingers are com- 
pletely bent, and the tips are pressed against the palm, 
the thumb being outward. 



256 ELEMENTS OF GESTURE. 

The grasping state, presents the extended fingers bent 
at both joints, and but slightly inclined over the palm. 

The curved state, is the bending of the fingers over 
the palm. 

The state of the fingers is important, in determining 
the actual position of the palm. "When it is said that 
the hand is vertical, it is only actually so when it is 
level. When the fingers are in the natural position, the 
vertical state of the hand implies a position intermediate 
between the horizontal and the actually vertical,* &c. 

Combination of the Hands. 

The bringing of one hand into contact with the other, 
like the placing of the hand upon the body, may be at 
almost any point where it can be effected with facility. 
The movements consist mainly of turns on the wrist, and 
single or continuous change of place of contact. Com- 
paratively few of the possible modes of combination, are 
generally demanded, but there are occasions which call 
for special modes. As the subjects which require special 
modes, necessarily indicate them, neither a description 
nor an enumeration of these modes is needed. 

A few examples of those forms which are most general 
in their application are sufficient, as in the examples of 
other elements, to elucidate the principles upon which 

* When the hand, with the natural position of the fingers, points 
to the zenith, it is vertical from the position of the arm. 



ELEMENTS OF GESTURE. 257 

the elementary diversity is based : viz. — The contact of 
corresponding parts of each hand. The enclosing of the 
same, or of different parts, of each hand, in each other. 
The contact of different parts, in different positions of 
the hand, or in the same relative position of each hand. 
The application at one point, or at different points in 
succession. 

The hands are — 

Applied 1st., — when they are held level, and brought 
together ; the fingers and thumb of one hand, being laid 
against the thumb and corresponding fingers of the other 
hand. 

Applied 2nd., — when the fingers and thumb of each 
hand, in the grasping position, are laid against one 
another. 

Clasped, 1st., - — "when the fingers are all inserted 
within each other, and one thumb is lapped over the 
other." 

Clasped, 2nd., — when the thumb of one of the clasped 
hands, is withdrawn from the other thumb, and the palm 
of the withdrawn hand encloses the little finger of the 
other hand ; the thumb of the withdrawn hand being 
placed upon the back of the other hand, and the fingers 
of the stationary hand being lapped over the correspond- 
ing fingers of the withdrawn hand. 

Clasped, 3rd., — when the fingers are inserted within 
one another, and the palms are separated to the full 
extent. 

22* 



258 ELEMENTS OF GESTURE. 

Folded, — " when the fingers of one hand at the second 
joint, are laid between the thumb and forefinger of the 
other, and are clasped down on its back ; and the fingers 
of the latter clasp the former, from the knuckle of the 
little finger to the wrist, the thumbs crossing each 
other." 

Inclosed, 1st, — when the back of one hand is laid in 
the other, the thumbs lying at length over each other. 

Inclosed, 2nd., — when the fingers of the receiving 
hand clasp the inner hand, between the knuckle of the 
little finger and the wrist, and the thumb of the inner 
hand is inserted between the thumb and forefinger of the 
other. 

Touching, 1st., — " when the points of the thumb and 
fingers of each hand are brought lightly into contact." 

Touching, 2nd., — when the corresponding fingers of 
each hand are brought into contact, at the back, from 
the second joint to the tip. 

Touching, 3rd., — when the hand passes from the first 
to the second touching position, the end of the fore- 
fingers being the turning point ; — and from the second 
touching position, to the supine position of both hands 
in contact at the little finger. 

Linked, — when the fingers are bent, as in the grasping 
position, but are not brought over the palm, nor ex- 
tended ; and the bend formed by the fingers of one hand 
incloses partly the fingers of the other. 



ELEMENTS OF GESTURE. 259 

Wringing, — when the hands are continuously passing 
from the first to the second clasped position ; each thumb 
being alternately withdrawn, and the hands elevated and 
depressed. 

Direction and Manner of the Motion of the Hand 
and Arm combined. 

Though the direction and manner of the motion of the 
arm and hand in conjunction, present no new elements 
of gesture, their designation is sometimes requisite, to 
impart the mode of the movement. The segments in- 
dicating the gestures of the arms, though considered as 
terminating points for the purpose of systematic arrange- 
ment, necessarily imply the points of commencement; 
as one movement frequently commences where the pre- 
ceding terminated. Though to point out the commence- 
ment and termination of motion, may generally show 
the main direction, it cannot always show the progress. 
Sometimes, after an extended course, the motion termi- 
nates at the point of commencement. The direction of 
motion, according to Austin, is — ascending, descending, 
to the right, to the left, forwards, backwards, revolving, 
inwards and outivards. 

The mode of executing a movement depends upon the 
directness or indirectness, suddenness or continuous- 
ness, energy or feebleness, extension or restriction, indi- 
cated by the absolute quality of the gesture. This is 



260 ELEMENTS OF GESTURE. 

manifest by the following illustration of the character 
of some examples of manner of motion. 

Noting, — is to draw back, to raise, to advance, and to 
depress the hand, in succession. This is but designation 
with indirect and preparatory action by the hand, analo- 
gous to magnificence of action. 

Springing, — is an independent movement of the hand, 
executed with boldness, when it has nearly reached the 
limit of action. 

Projecting or pushing, — with the preparatory retrac- 
tion, is an energetic forward movement. 

Throwing, — being unaccompanied with preparatory 
action, is a boldly executed direct movement. 

Striking and recoiling, — are accompanying energetic 
movements. 

Advancing, — or the downward, backward, upward, 
and horizontally forward movement, is but the execution 
of the forward movement with magnificence. 

The wave and the sweep, — are modifications of the 
same movement ; the wave results from moderation, the 
sweep, from magnificence. 

The other examples of Austin, except shaking, do not 
refer to manner of motion. Collecting and the flourish 
denote particular directions of motion. Collecting is an 
inward sweep. The flourish differs from the wave and 
the sweep, in being executed horizontally above the 
head. Bending is a position of the arm. Beckoning 



ELEMENTS OF GESTURE. 261 

and repassing refer mainly to positions of the hand. 
Shaking, though denoting manner of motion, refers to 
an accident of general gesture. 

The Countenance. 

Diversity in physiognomical expression does not arise, 
as has been intimated, solely from the single or com- 
bined action of the lineaments of the face which have 
been enumerated ; but likewise from change in the color 
of the skin, the varying phase of the eye, the swelling 
of the veins, the indications of muscular action upon 
the surface of the face, and that variation whose cause 
and process are alike unobservable. " The best part 
of beauty," says Lord Bacon, "is that which a statue 
or painting cannot express." There are parts of phy- 
siognomical expression, which are beyond the description 
of the pen, but the attending circumstances which lead 
to the attainment of these, can be presented. 

" The strong expression and strange powers which lie 
Within the magic circle of the eye, — " 

are subjects of frequent reference, but the whole power 
of the face is not "centred in the eyes," as Cicero 
declares, though they are the most comprehensive indi- 
cators of the conception and the state of the mind. 
Le Brun deemed the eye-brows the most definitely ex- 
pressive part of the face ; but they are raised alike in 



262 ELEMENTS OF GESTUKE. 

wonder, admiration, and apprehension ; contracted alike 
in grief, perplexity, and discontent; lowered alike in 
remorse, hatred, and moroseness. Some expressions do 
not always require the participation of the eye or the 
eye-brow in the play of the features, but the associated 
action of the lineaments of the face is generally de- 
manded. Sometimes, individual lineaments have diffe- 
rent indications. 



EXPLANATION OF NOTATION. 263 



CHAPTER VI. 

APPLICATION OF ELEMENTS. 

SECTION I. 

Explanatio7i of Notation. 

Austin has given a notation composed of " symbolic 
letters," a long and a short dash, a dotted line, and the 
numerals 1 and 2. The " symbolic letters " are generally 
the initial letters of the terms designating the particular 
gestures. Sometimes the initial letter is associated with 
the succeeding or some other letter. The letter denotes 
the instrument and the gesture, according to its place 
and form. The letters referring to the gestures of the 
hand and arm, are placed together ; these consist of 
three or four, and are called "a set." The first letter 
denotes the position of the hand ; the second the vertical, 
the third, the horizontal position of the arm ; the fourth, 
the direction or manner of motion.* When a capital 
letter, (unless it is Z or R,) or the letters hr, are used in 
place of the set of letters, or the third and the fourth 
letter, they relate to the part of the body upon which 

* The fourth division of the gesture, is frequently represented by 
tvio letters, but these constitute only one literal symbol. 



264 EXPLANATION OF NOTATION. 

the hand is placed, or towards which it approaches. The 
gesture of the head, and the direction of the look, are 
marked by capital letters, separated from the letters re- 
lating to the hand and arm. When both hands are em- 
ployed, a capital B precedes the literal symbol. When 
a short dash follows the letters marking the gesture of 
the hand and arm, the letters denote the gesture of the 
right hand ; if it precedes the letters, that of the left 
hand. When the action of each hand is noted, the dash 
is placed between the letters pertaining to each; the 
first denote the gestures of the right hand and arm, the 
second, those of the left. The long dash denotes a 
change of the gesture noted at its commencement, by the 
execution of that noted at the termination. The dotted 
line connecting the gesture of one hand with that of an- 
other, signifies that the gesture of the first hand is to 
be followed and supported by that of the second. This 
mode of action is called alternate gesture. 

These marks are placed above the line and the words 
to which they relate. 

The letters referring to the feet, are placed below the 
line. The foot and the position are designated by a 
capital letter and a numeral ; steps by a small letter. 
The letter x is used to denote the wide separation of the 
feet. 

The notation of Austin with additions and alterations, 
is that which is employed in the following examples of 
the application of the elements of gesture. In this 



SYNOPSIS OF SIGNS. 265 

notation, a line of letters and other marks is placed 
above that referring to the head, hands, &c., to indicate 
the action of the lineaments of the face. The long dash 
denotes the appropriation of the gesture which it suc- 
ceeds, to the language above which it is placed. The 
dotted line of connection is not employed in this work. 
Two or three italic letters signify the action of one in- 
strument, or constitute one literal symbol. When two 
sets of letters denote one gesture, they are enclosed in 
parentheses ( ). The different forms of the same posi- 
tion of the combined hands, are designated by numerals. 
The notation referring to the countenance may be 
called the first line of notation ; that referring to the 
hands, arms, &c, the second line ; that referring to the 
feet, the under line. 



SECTION II. 

Synopsis of Literal and Numeral Signs. 
First Line of Notation. 







The 


Face. 




B. c. 


Brows, 


contracted. 


E. B. u. Eyeball di 




B. 1. 


(C 


lowered. 


rected, 


upward. 


B. r. 


(( 


raised. 


E.B.d. 


downward 


B. a. 


(( 


arched. 


E. B. r. « 


right. 


Ld. r. 


Up. Eyelid 


, raised. 


E.BA. 


left. 


LdA. 


u u 


lowered. 


E. B. f. 


forward. 


Ldw. 


r. Low'r " 
23 


raised. 


F. ex. Features, 


expanded. 



M 


SYNOPSIS 


OF SIGNS. 




C. r. 


Cheeks, 


raised. 


L. r. 


Upper Lip, raised. 


N. r. 


Nostrils, 


raised. 


Lw. 1. 


Lower " 


lowered. 


N. d. 


(< 


dilated. 


Ls. c. 


Lips, 


compress'd 


A. r. 


Angles of 


Ls. p. 


a- 


protruded. 


Mouth, 


raised. 


Ls. s. 


(( 


separated. 


A. rt. 


(C 


retracted. 


M. o. 


Mouth, 


open. 


A.]. 


(( 


lowered. 


T. s. 


Teeth, 


set. 






Second Line of Notation. 








The Head. 






H.f. 


Head, 


forward. 


H. d. 


Head, 


downward. 


H.r. 


<( 


right. 


H.or. 


" oblique 


, right. 


H. 1. 


(« 


left. 


U.ol. 


(( U 


left. 


H. b. 


<( 


backward. 









Direction of the Look. 



u. 


upward. 


Br. 


right, backward. 


D. 


downward. 


Bl. 


left, backward. 


F. 


forward. 


Ro. 


oblique, right. 


R. 


right. 


Lo. 


oblique, left. 


L. 


left. 







The Hand. — l. Palm. 
First small letter, or literal symbol, connected with the short dash. 



p. prone, 

s. supine. 

n. natural. 

v. vertical. 

d. downward. 



i. inward. 

o. outward. 

dt. downward thumb. 

up. upward thumb. 



SYNOPSIS OF SIGNS. 



267 



2. Disposition of the Fingers. 
Second small letter, or literal symbol. 
i. index. 



n. 


natural. 


1. 


level. 


e. 


extended. 


cl. 


clenched. 


cs. 


clasped. 


cr. 


curved. 



s. separated. 

c. collected, 

h. holding. 

gr. grasping. 



The Arm. — Vertical Position. 
Third letter. 



R.* rest. 

d. downward. 

h. horizontal. 



e. elevated. 
Z. zenith. 



Horizontal Position. 
Fourth small letter, or literal symbol. 



ec. extended cross. 
c. across. 
f. forward. 



q. oblique, 
x. extended. 
b. backward. 



Direction and Manner of Motion. 
Fifth small letter, or literal symbol. f 



a. 


ascending. 


d. 


descending. 


r. 


right. 


1. 


left. 


n. 


noting. 



f. forward, 

b. backward, 

i. inward, 

o. outward, 

w. waving. 



* R. is generally unaccompanied with other letters ; if another is 
associated with R, it refers to the disposition of the fingers. 
f Generally omitted. 



268 



SYNOPSIS OF SIGNS. 



p. projecting or pushing. 
th. throwing. " 
ad. advancing. 



sp. springing. 
st. striking. 
re. recoiling. 



The following positions of the arm are noted in the 
fifth literal place. 

bn. bending. pr. pressing. rt. retracting. 

Parts of the Body towards which the Hand may move, or to which 
it may be applied. 

The letter or letters denoting the bodily part, gene- 
rally stand alone ; if associated with another, the other 
denotes the disposition of the fingers, or the manner of 
presenting the palm. Sometimes the position of both 
the fingers and the palm is designated. 



F. forehead. 

L. lips. 

T. thigh. 

E. eye. 



br. breast. 

S. side. 

B. back. 

H. head. 



Both Hands. 
The literal, or the literal and numeral symbol, occu- 
pies the place of the first and the second letter of the 
notation referring to the gesture of the single hand. 



B. ap. first applied position. 

3 

B. ap. second " " 

i 

B. cs. first clasped position. 

2 

B. cs. second " " 

B. cs. third " " 

B. in. first inclosed position. 



B. in. second inclosed pos'n. 

B. tc. first touching position. 

2 

B. tc. second " " 



B. tc. 
B.f. 



third " 
folded. 

B. Ik. linked. 

B. wr. wringing. 





EXECUTION OF GESTURE. 




Shoulders. 






S. r. raised. 


S. f. forward. 




S. 1. lowered. 


S. b. backward. 




Under Line of Notation. 




The Feet and Lower 


Limbs. 


R. 1. 


right foot, first position. 




K. kneeling 1 . 


R. 2. 


" " secoud " 




x. extended. 


L. 1. 


left foot, first position. 




sp. to stamp. 


L. 2. 


" " second " 








Steps. 






a. to advance. 




c. to cross. 




r. to retire. 




st. to start. 




tr. to traverse. 







269 



Whenever a gesture is required, for which the notation 
has no sign, it is designated in the margin. Sh is some- 
times added to other signs to denote tremulousness. 

SECTION III. 
The Execution of Gesture. 

Simplicity, precision, and propriety, are the relative 
qualities of gesture, according to Austin ; but both sim- 
plicity and precision may be comprehended in propriety ; 
as the proper application of gesture requires not only 
accordance with the sentiment, but adaptation to the 
situation and character of the speaker, to the character 
represented, and to the form of communication, and also 
demands correctly-timed execution.* 

* Simplicity denotes the employment of such gesture as "appears 
23* 



270 EXECUTION OF GESTURE. 

The manner of executing any element, and the mode 
of combining elements, depend upon the quality and 
style of the gesture ; as each of the various elements 
which have been noted, should be considered a denote- 
ment of a class, rather than a single gesture. 

Ideognomical, pathognomical, and soliloquial, collo- 
quial, oratorical, and recitational action, refer, as has 
been shown, to absolute, as well as relative properties 
of gesture. Though similar gesture frequently occurs 
in every one of these divisions, there is always a pecu- 
liarity of application, which renders them practically 
distinct ; although they are not radically distinguished 
from one another like the absolute qualities. 

The analogy in the expressive use of voice and gesture, 
adapts the principles of expression presented in treating 
of the voice, to gesture ; but as there is no actual re- 
semblance between voice and gesture, their respective 
expressions are frequently denotative of different attri- 
butes and relations, when accordant expressive divisions 
of each are employed. By this means, expression is 
better adapted to a complete portraiture of conception. 
The significancy of the voice dispenses with much action 
that would be needed, if gesture were the sole communi- 
cative agent : and when the voice is adequate to com- 

to be the natural result of the situation and sentiments of the 
speaker." 

Precision is " the correct timing of the action." 



EXECUTION OF GESTURE. 271 

plete expression, it dispenses with all illustrative action. 
Gesture is sometimes the sole expressive agent. The 
point of view in gesticulatory expression, is, at times, 
necessarily distinct from that in vocal expression ; thus, 
when the action is symbolical, the voice may be imitative. 
The face accords more than any other part of the body, 
with the voice, in significant character. 

The didactic and the poetic divisions of vocal expres- 
sion, are respectively associated with the colloquial and 
the recitational style of gesture. It is hardly necessary 
to observe, that personative action is confined to the 
dramatic division. Though in recitation, personal traits 
are sometimes assumed, the speaker does not merge his 
identity into the assumed character. This renders the 
expression an illustration, rather than a personation. 
A less marked illustration of character may occur in 
oratory. 

The association of any quality with a particular style, 
produces a definite mode of gesture ; change in the qua- 
lity, produces another mode ; combination of qualities, 
an additional mode. The association of the qualities of 
gesture, like those of the voice, is through approxima- 
tion to each other, or conjunction without modification.* 
As a general rule, there should be analogy in the action 
of the several instruments, but the purposes of expres- 
sion may require diversity. 

* The qualities, boldness and energy, are characterized by the 
degrees, " slight, medium, and great." 



272 EXECUTION OF GESTURE. 

From previous observations it is manifest, that four 
circumstances are to be regarded in the execution of 
every gesture: viz. — the form or style, the subject or 
purpose, the quality, and the significant relation. The 
particular quality may be a single absolute quality, or 
may result from combination of qualities. Due regard 
to the modifications of which the four styles are suscep- 
tible, and to admissible approximation, must be observed. 
The train of thought frequently imparts to the style its 
distinguishing properties, but the thought may occasion- 
ally require the most diverse modification of the preva- 
lent mode. The change, however, is not radical ; if, for 
example, the style is the colloquial, circumscription and 
limitation ever characterize the action. When a change 
of style occurs in soliloquy, it is on those occasions when 
the action is not modified by the situation of the speaker ; 
as in the delivery of apostrophe, &c. ; but there is a 
tendency manifested to direct the eyes within the circuit 
of action, and, when they are extended beyond, to 
restrict the movement of the arms. 

Objects in the hand, within the reach, or within the 
range of vision, may occasionally be employed to aid 
the action, not only when they are referred to directly, 
but when they are typically illustrative or suggestive of 
another object, or convey an allusion or a mental purpose. 
Thus a book, a sword, or a part of the dress, a wall, or 
a desk, may impart a meaning which words cannot con- 
vey, or reveal thought when language is silent. Such is 



Austin's illustrations. 273 

the use made by Corporal Trim of his hat and cane ;* 
and by Shylock of his Jeivish gaberdine, when taking it 
between his forefinger and thumb, and shaking it, in 
silent reply to Portia's reference to the Christian s 
prayer for mercy. 

SECTION IV. 

Examination of Austin's Illustrations. 

Before applying the Elements of Gesture, an elucida- 
tion of the principles of gesticulatory application may 
be presented, by an examination into the propriety of 

* " 'Are we not here, now 1 ' continued the corporal, (striking the 
end of his stick perpendicularly upon the floor, so as to give an idea 
ofhealth and stability,) * and are we not,' (dropping his hat upon the 
ground,) ' gone ! in a moment ! ' It was infinitely striking ! 

" 'Are we not here now, — and gone in a moment.' — There was 
nothing in the sentence ; it was one of your self-evident truths we 
have the advantage of hearing every day; and if Trim had not 
trusted more to his hat than his head, he had made nothing at all 
out of it. 

"'Are we not here now'?' continued the corporal, 'and are we 
not' (dropping his hat plump upon the ground, and pausing before he 
pronounced the word,) 'gone! in a moment!' The descent of the 
hat was as if a heavy lump of clay had been kneaded into the crown 
of it. Nothing could have expressed the sentiment of mortality — 
of which it was the type and forerunner — like it: his hand seemed 
to vanish from under it, it fell dead : the corporal's eye fixed upon 
it, as upon a corpse." 



274 EXAMINATION OF 

the gesture signified by the notation on two passages, 
in pieces noted in Austin's Illustrations. 

Fkom Gat's Miser aid Plutus. 



vhf— vhx U B sefsp 



1. " But virtue 's sold ! Good Gods ! what price, 

aR2 
F — R 

2. Can recompense the pangs of vice 1 

D B sdfd n 

3. O bane of good ! seducing cheat ! 

rRl 

B vhf — vef shfst — sdq 

4. Can man, weak man, thy power defeat V* 

The right hand in a vertical, horizontal, and forward 
position, and the left, in a vertical, horizontal, extended, 
whether the hands are held in those positions in a rigid 
or loose manner, cannot convey the feelings of despair 



* Signijicancy of Signs. — Line 1. — v h f — vhx. Right hand, 
vertical, horizontal, forward — left, vertical, horizontal, extended. 

U B s e f sp a. Look upwards. Both hands, supine, ele- 

aR2 
vated, forward, springing — ascending. Feet advance to second 
position of right. 

Line 2. — F — R. Right hand upon the forehead — left at rest. 

Line 3. — D B sdfd n. Look downwards. Both 

rRl 
hands, supine, downward, forward, descending — noting. Feet retire 
to right first. 

Line 4. — B v h f vef. Both hands, vertical, horizontal, 

forward, to vertical, elevated, forward, shfst — sdq. Right 
hand, supine, horizontal,' forward, striking — left, supine, downward, 
oblique. 



Austin's illustrations. 275 

which the exclamation — "but virtue's sold" — implies; 
as the hands thus placed, indicate something analogous 
to surprise. Propriety of expression requires that the 
hands should slowly descend from a horizontal forward 
position, and strike the thighs. The head should sink, 
as the hands fall ; the feet assuming the second position 
of the right foot. 

The sudden appeal — " good Gods " — though it should 
be made with an energetic action of the head, as it is 
thrown partially back, the elevation of the arms, as the 
body rises from its dejected position, and the feet retreat- 
ing to the extended first position of the right foot, is yet 
subordinate, in expression, to the interrogation which 
follows; — the mind necessarily giving the greatest vehe- 
mence to the inquiry, as it engrosses all its faculties. In 
the notation, the action on "price," is a continuation 
only of that on "Gods;" but the prominent gesture 
should be made on the interrogative pronoun "what;" 
and it should be that which is appropriated to the word 
"Gods" in the notation, with the exception, that the 
hands should be vertical. The action which should ac- 
company the ecphonesis "good Gods," should be the 
preparation for that on "what." 

The hand on the forehead in the notation of the second 
line, denotes grief, but not the agony of " pangs ; " and 
as the striking of the breast is a more general denote- 
ment of agony, the hands should descend from the ele- 
vated forward position, and move slowly on the pronun- 



276 EXAMINATION OF 

ciation of the word "recompense," then, with a sudden 
spring, should grasp the breast. 

The expression of the third line, so far as it is visible, 
depends mainly upon the countenance and attitude. 
The gesture assigned, is unnecessary and improper, 
except the downward look. The direction of the look 
designates the object, and a direct designation is incon- 
sistent with the rapt state of the miser's thoughts. The 
hands should fall from their position at the conclusion 
of the third line, and hang listlessly by the sides, and 
the whole body should droop. 

In the fourth line, the consciousness of weakness strips 
the question of almost all interrogative characteristics ; 
as the inability of "weak man" to defeat the "power" 
of gold, is manifest to the interrogator. The right hand 
should be held supine, with the little finger resting 
against the breast, on the pronunciation of the word 
"man." The general sinking of the body, is the best 
expression of "weak man." The hands should rise to 
the elevated forward position, and change from the prone 
to the vertical on "power," and, retaining the same 
elevation of the arms, should become supine on "defeat." 
Of the action signified by the notation, little need be 
said ; no connection exists between it and the sentiment 
of the erotesis. 

The notation on the second stanza of Gray's Elegy, 
is as well adapted to the sentiment as any in Austin. 



AUSTIN'S ILLUSTRATIONS. 277 

The principal deviation from propriety, is a want of con- 
formity to relative prominency. The chief figures of 
this picture in words, do not stand forth in the illustra- 
tion as conspicuously as is necessary ; and the due sub- 
ordination of adjuncts is not observed. 



R B phc 



1. "Now fades the glimmering landscape on the sight; 



B vef- 



2. And all the air a solemn stillness holds, 



3. Save where the beetle wheels his drony flight, 

phfp— R 

4. And drowsy tinklings lull the distant folds."* 

aR2 

The act of fading is the primary idea in the first line 
of this stanza : prominently associated with it, is the 
"stillness" of the air in the second. The slight inter- 
ruption of the "stillness" by the droning of the 
"beetle" and the "drowsy tinklings," renders the ex- 
pression of the third and the fourth line less striking 
than that of the other two. The expressiveness of the 
action is concentrated on the words "fades, "stillness," 

* Line 1. — R B phc q x. Look around. Both 

hands, prone, horizontal, across — oblique — extended. 

Line 2. — B vef q. Both hands, vertical, elevated, for- 
ward — oblique. 

Line 3. — iec q. Right hand, index, elevated, across — 

oblique. 

Line 4. — phfp — R. Right hand, prone, horizontal, forward, 
aR2 
pushing. Feet advance to right second. Hands rest. 

24 



278 Austin's illustrations. 

"drony," and "tinklings ;" though the expression of 
the last two depends mainly upon the voice. 

The preparatory action on " fades,'' the direction of 
the look, and the horizontal movements of both hands, 
render the landscape the prominent object in the illus- 
trative action of Austin. To correct this, — while looking 
around, both hands should be raised to the vertical, 
elevated, forward position, at a little distance from the 
face, the eyes then directed vacantly forward. The 
hands should move forward and descend to rest, while 
pronouncing the last four words of the line. On " air" 
in the second line, both hands should be raised to the 
elevated oblique position, and presented vertical ; and 
this action of the hands should be accompanied with an 
upward look, directed towards the elevated forward 
position : this attitude should be maintained during the 
delivery of the remainder of the line. 

Although the gestures which are here assigned to 
"fades" and "stillness," commence before the words 
are pronounced, and continue after their pronunciation, 
yet the import of the gestures, from the manner of the 
execution, is not associated with other words ; as the 
preceding and the succeeding actions are only the pre- 
paration, continuation, and termination, of the gestures 
which are significative of "fades " and "stillness." 

The gesture on "beetle," would be more appropriate, 
if made in the horizontal circle. The hand should 
describe two connected segments, as it moves to the 



EXEMPLIFICATION. 279 

horizontal oblique position. On "tinklings," the index 
of the right hand should be held horizontal and forward. 
On "distant," the eyes should be directed forward, and 
the remainder of the action should conform, with the 
exception of the pushing, to the notation. 



SECTION V. 

Ex e mp lification. 

Fundamental Distinctions in Gesture. 

Simple Communication. 

nnhq — R 

LI 

Right hand: — palm, natural, fingers, natural; arm, — horizontal, 
oblique. Left hand, at rest. Feet, — left, first position. Quality, — 
moderation. 

Interrogation. 

Brc 



nlhf— R 



R2 

Brows slightly raised and contracted. Right hand, natural, level, 
horizontal, forward; — left, at rest. Feet, — right, second. Quality, — 
limitation. 

Exclamation. 

Fex 



B vl 



Llx 



Features expanded. Both hands, vertical, level, elevated, extended. 
Feet, — left, first extended. Quality. — magnificence. 



280 EXEMPLIFICATION OP 

These distinctions necessarily become merged into the 
innumerable gestures required by ideognomy and pathog- 
nomy. They, nevertheless, represent the essential cha- 
racter of the gesture in the designated modes of 
utterance. 

Soliloquial Style. 

Sir Edward Mortimer, after the Departure of Adam 
Winterton. Act I., Scene III. 

Cr Al EBf 

(Sitting.) H f d H f 

1. "Good morning, good old heart! — This honest soul 

Cr Br B lc 

snhq Ylhq.* — 

2. Would fain look cheery in my house's gloom; 

Brc Id r 

3. And, like a gay and sturdy ever-green, 

Brc Cr Al Blc JMr 
Bvneq Bvleq 

4. Smiles in the midst of blast and desolation, 

Bonhc Bvlhq BT (Rises.) Hdsft B n 1 d x 

5. Where all around me withers. Well, well, — wither ! 

Rl R2 

Blc Ar Nr Ls c 



(Bicrbr Bpldf) Bicrbr F — 

6. Perish this frail and fickle frame! this clay, 
(Rl R2) - Rl 

dt n e f — 

7. That in its dross-like compound, doth contain 

EB u EB u 

R — 

8. The mind's pure ore and essence ! Oh ! that mind ! 



* When the hand should be withdrawn from a position, and the 
direction of the movement is not noted, it should either fall to rest, 
or fall into a position or motion to support the hand engaged in 
action. 



SOLILOQUIAL STYLE. 281 

B r Ld r 

Tiief te — snex — 

9. That mind of man ! that god-like spring of action ! 

Ld v Br 

II— p U FBplhff 

10. That source whence learning, virtue, honor, flow : 

U vnef— plhf 

11. Which lifts us to the stars; which carries us 

R2 El 

Br Ld r 

— D 



12. O'er the swol'n waters of the angry deep, 

Br 
R— F TJ n— slef— 

13. As swallows skim the air: that fame's sole fountain! 

2 
(Bfchf Bplef) (L— snef— ) 

14. That doth transmit a fair and spotless name, 

LrNr Bv Cr A rt Ld v 

Bicrbr B p 1 d b Bel hi s 1 h f — 

15. When the vile trunk is rotten ! Give me that ! 

R2 Rlx 
Bflhf bn Fplhf 

16. Oh! give me but to live in after age 

aL2 

Br 
II— vneq— U Bwplhf F 

17. Remembered and unsullied ! Heaven and earth ! 

El a L 2 

slhfp F U Bvneq (BvnecBvlhx) 

18. Let my pure flame of honor shine in story, 

aR2 

Be A rt Lsc 
in br — sidf — B gr br 

19. When I am cold in death, — and the slow fire 

Rl 



Tlhf— R — 



20. That wears my vitals now, will no more move me, 

21. Than 'twould a corpse within a monument !" 

24* 



282 EXEMPLIFICATION OF 

SIGNIFICANCY OF SIGNS. 

Line 1. — Cr A 1. Cheeks raised. Angles of the mouth, lowered. 
EB f. Eyeballs forward. Hfd. Head forward and downward. 
H f. Head forward. 

2. — Cr Br. Cheeks raised. Brows raised. B 1 c. Brows lowered 

and contracted. snhq v 1 h q.— Right hand, supine, natural, 

horizontal, oblique ; and vertical, level, horizontal, oblique. 

3. — B re Ld r. Brows raised and contracted. Upper eyelid raised. 

4. — Brc C r A 1. Brows raised and contracted. Cheeks raised. 
Angles lowered. Blc Ldx. Brows lowered and contracted. Upper 
eyelid raised. Bvneq. Both hands, vertical, natural, elevated, 

oblique. Bvleq . Both hands, vertical, level, elevated, 

oblique ; continued. 

5. — B o n h c. Both hands, outward, natural, horizontal, across. 
B v 1 h q. Both hands, vertical, level, horizontal, oblique. B T. Both 
hands strike the thighs. H d sh. Head downward and shaking. Feet, 

Rl 

right first. B n 1 d x. Both hands, natural, level, downward, extended. 

R2 

Feet, right second 

6. — Blc Ar Nr Ls c. Brows lowered and contracted. Angles 
raised. Nostrils raised. Lips compressed. (Bicrbr Bpldf). 

Rl R2 

Both hands, inward, curved, and placed against the breast; and then 
prone, level, downward, and forward. Feet advance from right first 

to right second. B i cr br . Both hands inward, curved, at the 

breast ; continued. F — . Right hand at the forehead. Feet, right first. 
Rl 

7. dt nef. Continuation of the gesture on "clay." Right 

hand, downward thumb, natural; the horizontal and vertical position, 
the same as in the former. 

8. — EBu EB u. Eyeballs upward, eyeballs upward. R — . 
Right hand at rest. 

9. — B r Ld x. Brows raised. Upper eyelid raised, vnef bn. Right 
hand, vertical, natural, elevated, forward ; arm bending, s n e x. — Right 
hand, supine, natural, elevated, extended. 

10. — Ldx Br. Upper eyelid raised. Brows raised. H — . Right 



SOLILOQUIAL STYLE. 283 

hand moves towards the head. U. Look upward. F Bplhff. 
Look forward. Both hands, prone, level, horizontal, forward, forward. 

11. — U. Look upward. vnef — . Right hand, vertical, natural, 
R2 

elevated, forward. Feet, right second, plhf . Right hand, 

Rl 
prone, level, horizontal, forward. Feet, right first. 

12. D Br Ldx. Action on "carries," con- 
tinued to "deep." Look downward. Brows raised. Upper eyelid 
raised. 

13. — Br. Brows raised. R — . Right hand at rest. F U. Look 
forward and upward. H — . Right hand approaches the head. 
s 1 ef — . Right hand, supine, level, elevated, forward. 

2 

14. — (B tc h f Bplef). Both hands, from touching second, hori- 
zontal, forward, to prone, level, elevated, forward. (L — snef — ). 
Right hand approaches the lips, and moves to supine, natural, ele- 
vated, forward. 

15. — Lr Nr. Upper eyelid raised. Nostrils raised. Br Cr Art 
Ld r. Brows raised. Cheeks raised. Angles retracted. Upper eye- 
lid raised. B i cr br. Both hands, inward, curved, at breast. B p 1 d b. 

R72~~ 
Both hands, prone, level, downward, backward. Feet, right second. 
B cl h f. Both hands, clenched, horizontal, forward. Feet, right, first 

Rlx 
extended, s 1 h f — . Right hand, supine, level, horizontal, forward. 
16. — Bjlhfbn. Both hands, folded, horizontal, forward; arms 

bending. F plhf — . Look forward. Right hand, prone, 

Til 
level, horizontal, forward ; continued. Feet advance to left second. 

17. — Br. Brows raised. H — . Right hand approaches the head, 
v n e q — . Right hand, vertical, natural, elevated, oblique. Feet, right 
— Rl 

first. U. Look upward. B up 1 h f F. Both hands, upward 

aL2 
thumb, level, horizontal, forward ; continued. Look forward. Feet 
advance to left second. 

18. — B s 1 h f p. Both hands, supine, level, horizontal, forward, push* 
aR2 



284 EXEMPLIFICATION OF 

ing. Feet advance to right second. F U B v n e q. Look forward 
and upward. Both hands, vertical, natural, elevated, oblique. 
(B v n e c Bvlhx). Both hands, from vertical, natural, elevated, 
across, to vertical, level, horizontal, extended. 

19. — Be Art, is c. Brows contracted. Angles retracted. Lips 
compressed, i n i? - — . Right hand, inward, natural, on the breast. 
sidf — . Right hand, supine, index, downward, forward. B gr br. 

Rl 
Both hands, grasping the breast. Feet, right first. 

20. pr . Continuation of the gesture on "fire," with 

pressing, vihf — . Right harid, vertical, level, horizontal, forward. 
R — . Right hand at rest. 

21. — Continuation of the attitude on "me." 



Remarks. 

Ideognomy, in Mortimer's soliloquy, is conjoined with 
personation and pathognomy. The effect of conscious 
guilt upon a mind of intellectual elevation, swayed by 
honorable ambition, and neither depraved nor constitu- 
tionally wicked, is the basis of the idiosyncracy of the 
character. Remorse and anxiety are the prominent 
states of the mind. In the soliloquy, mental aspiration 
raises the mind from its dejected state. The effect of 
pathognomy upon the action, is mainly in the manner 
of execution ; the gestures being determined principally 
by the ideognomy. 

Kindness and courtesy light up the habitual gloom of 
the countenance, in the first two lines. The ideognomy 
of "house's gloom," conforms to the habitual despon- 
dency. The gesture on "house's," should harmonize, by 
the slowness of its progress, with the rest of the expres- 



SOLILOQUIAL STYLE. 285 

sion. The third line and " smiles" associate the pleased 
aspect of commendation, with the habitual; the senti- 
ment of the remainder of the sentence, renders the 
countenance dismal. The action of the arms and hands 
is analogous in execution to the action on -" house's." 
Fretfulness quickens the action on "well, well, wither." 
Impatience gives force and rapidity to the gesture per- 
taining to "perish ;" which is thus rendered duly promi- 
nent. — The slight anger renders the countenance less 
sorrowful. On the succeeding part of the sentence to 
"doth," contempt supersedes anger. From "that god- 
like" to "is rotten," the action augments in extent and 
energy, and approximates to magnificence. Sorrow is 
almost lost in admiration. The contempt associated 
with the last clause, derives its energy from the preced- 
ing subjects of contemplation. The greater the admira- 
tion for exalted, the greater the contempt for base 
objects. Boldness characterizes the action on "give 
me that," great energy and partial limitation, that on 
the succeeding words to "death." On the rest of the 
passage, medium energy gradually diminishing. 

Line 11. — vnef — plhf — . In both 

these actions, the hand, should first move inward. 

Line IT and line 18. — vneq — Bvneq. Move- 
ment in a line curving downward. 



286 EXEMPLIFICATION OF 

Colloquial Style. 

Sir Edwabd Mortimer to Captain Fitzharding. 
Dejection, Admiration, Poignant Remembrance. 

Mortimer's despondency renders the gestures appro- 
priate to the subsequent passage slow in movement, when 
the bitterness of reflection does not cause impetuosity. 
Limitation is the prevalent quality. 

Ld\ Al 

Hold Bnldq 



1. "And what avails itl 

L2 

Ldv Br 

U ml e f — dt n e f M — br— B p 1 h x 

2. Honor has been my theme, good will to man, 

R2 El 

Be Br 

B up v. h x st U cllr — vile f — 

3. My study. I have labored for a name 

R2 

iWrBr Idr Br Ar 

dteh.ee — zipehx — (B eft e he a Bupehx) 

4. As white as mountain snow, — dazzling and speckless. 

Rl 

Ld 1 L r Lw 1 Be Lr Brc Ls cBrFea; 
Bl vlhq — vlhe -vehfrt — vehf — vlZ weZ — 

5. Shame on 't ! 't is blurred with blots ! Fate, like a mildew, 

rRl R2x Klx 

B 1 c Ls c 
pehf— 

6. Ruins the virtuous harvest I would reap, 

R2x 

Nr 
B p 1 h x up sh.?.st 

7. And all my crop is weeds." 

Rl 



COLLOQUIAL STYLE. 287 



SIGXIFICANCT OF SIGNS. 

Line 1. — Ld\ A 1. Upper eyelid lowered. Angles lowered. 
H 61 d. Head, oblique left, downward. Feet, left second. B n 1 d 

L2 
q . Both hands, natural, level, downward, oblique ; continued. 

2. — Ld r B r. Upper eyelid raised. Brows raised. Urile f — . 

R2 

Look upward. Right band, vertical and inward, level, elevated, for- 
ward. Feet, right second, dt n e f bn — . Right hand, downward 
thumb, natural, elevated, forward; arm bending. R 1. Feet, right 
first, br — . Right hand, at the breast. Bp lhx. Both hands, prone, 
level, horizontal, extended. 

3. — Be. Brows contracted. B r. Brows raised. B up n h x st. 

Action on " man " continued. Both hands, upward thumb, natural, 
horizontal, extended, striking. U cl br — . Look upward. Right 

R2 
hand clenched near the breast. Feet, right second, vi 1 e f — . Right 
hand, vertical and inward, level, elevated, forward. 

4. — Ld r B r. Upper eyelid raised. Brows raised. Ld r Br A r. 
Upper eyelid raised. Brows raised. Angles raised, dt eh ec — . 

Rl 
Right hand, downward thumb, extended, horizontal, extended cross. 
Feet, right first, up ehx — . Right hand, upward thumb, extended, 
horizontal, extended. (B dt e h c a B up ehx). Both hands, down- 
ward thumb, extended, horizontal, across, ascending; both hands, up- 
ward thumb, extended, horizontal, extended. 

5. — Ld 1 Lr Lw 1. Upper eyelid lowered. Upper lip raised. 
Lower lip lowered. Be L r. Brows contracted. Upper lip raised. 
B r c Ls c. Brows raised and contracted. Lips compressed. Br F ex. 
Brows raised. Features expanded. Bl v 1 h q — v 1 h c. Look left 

TbTT 

backward. Right hand, vertical, level, horizontal, oblique ; — left, ver- 
tical, level, horizontal, across. Feet retire, right first, vehfrt — . Right 
hand, vertical, extended, horizontal, forward, retracting, v e h f — . 



R2x 

Right hand, vertical, extended, horizontal, forward. Feet, right 



288 EXEMPLIFICATION OP 

second, extended. vlZ vo eZ — . Right hand, vertical, level, 

Rlx 
zenith; continued; — and vertical and outward, extended, zenith. 
Feet, right first, extended. 

6. — B 1 c Ls c. Brows lowered and contracted. Lips compressed. 
pehf — . Right hand, prone, extended, horizontal, forward. Feet, 

R2x 
right second, extended. 

7. — N r. Nostrils raised. Bplhx up s h x st. Both hands, 

prone, level, horizontal, extended ; continued ; both hands, upward 
thumb, separated, horizontal, extended, striking. 

The action of striking (st) on the third and the seventh 
line, is mainly confined to the hands. On the fifth line, 
with the exception of "fate," the action is energetic. 
The action on "fate," and on " ruins" in the subsequent 
line, is characterized by boldness. 

Oratorical Style. 

From Webster's Reply to Haihe. 
Solemnity, Fervent Aspiration, Havoc, Exultation, — in succession. 

l EBvl 

— dtnefbn U — pldx 

"When my eyes shall be turned to behold, for the last time, 

El 

13 Bl Ldx 

vieq U Bvlhq T> Ro pshq — 

may I not see him shining on the broken 



the sun in the heavens, 

is s 

and dishonored fragments of a once glorious Union 



p i h q — (B dt 

on States dis- 
rRl 



B 1 c Lw 1 Blc Lsc Art 34 



Ihf BdtlhcO (Bp^-hc Bp^rhq) (BcZhc BcZhx) 

severed, discordant, belligerent; 



mhq — p£irhx- 



on a land rent with civil feuds, 



ORATORICAL STYLE. 289 



Ldv Lss Al EBOl* 
tip eh c — v e h q — vehc 

or drenched, it may be, in fraternal blood ! 



Rl 
Br Ldv A r 

U — v n e q hi 



TJ tip 1 h f — p 1 d b — 

Let their last feeble and 
aL2 



lingering glance, rather behold the gorgeous ensign of the republic, 

L 1 

— volZ U d Bplhx p 1 d b — v 1 e q. 

now known and honored throughout the earth, still 'full high ad- 

L2 Ll L2 

Br Ldv e 

vnec ( — pnhcw — vnex) 



its arms and trophies streaming in their original lustre, 

Ll 



vanced 

' Ar 

Bvleq. 

not a stripe erased or polluted, not a single star obscured." 

rRl 

SIGNIFICANCY OF SIGNS. 

Division 1. — E B u. Eyeballs upward. Rl — dtnefbn U . 

Feet, right first. Left hand, downward thumb, natural, elevated, for- 
ward ; arm bending; continued. Look upward. — p 1 d x. Left 
hand, prone, level, downward, extended, v i e q — . Right hand, ver- 
tical, index, elevated, oblique. 

2. — B 1 Ld r Ls s. Brows lowered. Upper eyelid raised. Lips 

separated. U. Look upward. Bvlhq D Ro . Both 

aL~2 
hands, vertical, level, horizontal, oblique ; continued. Look down- 
ward and oblique right. Feet advance to left second, pshq — . 
Right hand, prone, separated, horizontal, oblique. 

3. — B 1 c Liv 1. Brows lowered and contracted. Lower lip lowered. 
B 1 c Ls c A rt. Brows lowered and contracted. Lips compressed. 
Angles retracted, p i h q — Right hand, prone, index, horizontal, 

rRl 
oblique. Feet retreat to right first. (Bcftlhf Bdfclhq). Both 
hands, downward thumb, level, horizontal, forward, and downward 
thumb, level, horizontal, oblique. (B p gr h c B p gr h q). Both hands, 
prone, grasping, horizontal, across ; and prone, grasping, horizontal, 
oblique. (B cl h c BcZhx). Both hands, clenched, horizontal, 
across, and clenched, horizontal, extended. 

25 



290 EXEMPLIFICATION OF 

4. — Ld x Ls s Al E B d. Upper eyelid raked. Lips separated. 
Angles lowered. Eyeballs downward, s n h q — . Right hand, supine, 
natural, horizontal, oblique, pgrhx . Right hand, prone, grasp- 
ing, horizontal, extended ; continued, ifehc — . Right hand, upward 

R2 
thumb, extended, horizontal, across. Feet, right second, vehq — vehc 

Rl 
Right hand, vertical, extended, horizontal, oblique; left, vertical, ex- 
tended", horizontal, across. Feet, right first. 

5. — Br Ld x A r. Brows raised. Upper eyelid raised. Angles 
raised. U up lhf — . Look upward. Right hand, upward thumb, 

a~L~2 
level, horizontal, forward. Feet advance to left second, pldb — . 
Right hand, prone, level, downward, backward. U. Look upward. 

Ll 

Feet, left first. — v n e q bn . Left hand, vertical, natural, elevated, 

oblique ; arm bending, — continued. — wlZ U d. Left hand, 

vertical and outward, level, zenith ; continued. Look upward ; arm 
descending. B p 1 h x. Both hands, prone, level, horizontal, extended. 

L2 
Feet, left second. Ll. Feet, left first, pldb — v 1 e q. Right hand, 

L2 
prone, level, downward, backward ; left, vertical, level, elevated, 
oblique. Feet, left second. 

6. — Br Ld x A r. Brows raised. Upper eyelid raised. Angles 
raised. v n e c — . Right hand, vertical, natural, elevated, 

Ll 

across; continued. Feet, left first. ( — pnhcw — v n e x). Left 
hand, prone, natural, horizontal, across, waving to vertical, natural, 
elevated, extended. 

7. — B v 1 e q . Both hands, vertical, level, elevated, oblique; 

rRl 
continued. Feet, retire to right, first. 

Moderation characterizes the action on the first divi- 
sion of this passage. Boldness and magnificence consti- 
tute the executive character of the action on " may I 



RECITATIONAL STYLE. 291 

not," &c. Moderation combined with energy is the 
quality of the subsequent gesture, to the fifth division. 
The fifth, the sixth, and the seventh division, require 
magnificence. 

Recitational Style. 

ClEOPATRA 05T THE CxDNUS. 

Mournfulness, Splendor, Desolation, Regret. 

F plhq U 

1. "Away by the lofty mount! 

Rl 



Fplhq- 



2. And away by the lonely shore ! 

aR2 

Br Ldr 
plhq — pldx vlhq — vldx 

3. And away by the gushing- of many a fount, 

R2x 

Ld\ Al 
BR 

4. Where fountains gush no more! 

Rl 
EBvl 

i 

B ape fin — folef vnef bnhc* — 

5. Oh ! for some warning vision there, 
rLl 

L — slhq — 

6. Some voice that should have spoken 

(snhf- snhq— ) (Bvlhf Bpldq) 

7. Of climes to be laid waste and bare, 

Cr Ar Al 

Bvleq B T 

8. And glad young spirits broken!" 



* he denotes that the hand describes a small horizontally circular 
movement in front of the forehead. 



292 EXEMPLIFICATION OF 

SIGNIFICANCY OF SIGNS. 

Line 1. — F plhq U , Look forward. Right hand, 

Rl 
prone, level, horizontal, oblique; continued. Look upward. Feet, 
right first. 

2. — F plhq . Look forward. Right hand, prone, level, 

aR~2 
horizontal, oblique ; continued. Feet advance to right second. 

3, — B r Ld r. Brows raised. Upper eyelid raised, plhq — p I d x 

R"2^ 

v 1 h q.. — v 1 d x . Right hand, prone, level, horizontal, 

oblique, — left, prone, level, downward, extended, — continued : — right 
hand, vertical, level, horizontal, oblique, — left, vertical, level, down- 
ward, extended ; continued. Feet, right second, extended. 

4. — Ld 1 A 1. Upper eyelid lowered. Angles lowered. Feet, 

~~R1 
right first. B R. Both hands at rest. 

5. — EB u. Eyeballs upward. Bapefbn. Both hands, applied 

rTl 
first, elevated, forward ; arms bending. Feet retire to left first. 
— vo 1 e f. Left hand, vertical and outward, level, elevated, forward, 
vnef bn he — . Right hand, vertical, natural, elevated, forward; arm 
bending, horizontal circular motion. 

6. — L — . Right hand touches the lips. slhq — . Right hand, 
supine, level, horizontal, oblique. 

7. — (s n h f — sn h q — ). Right hand, supine, natural, horizontal, 
forward, — and supine, natural, horizontal, obi ique. (Bvlhf Bpldq). 
Both hands, vertical, level, horizontal, forward, and prone, level, 
downward, oblique. 

8. — Cr A r. Cheeks raised. Angles raised. A 1. Angles lowered. 
B v 1 e q. Both hands, vertical, level, elevated, oblique. B T. Both 
hands strike the thighs. 

The gestures on the word "away," as it successively 
occurs in the first three lines of this extract, exemplify 
a climax of action; moderation, limitation, and magnifi- 
cence, constituting the gradation. 



PERSONATIVE ACTION. 293 

The change of the position of the hands on "gushing," 
from their position on "away" in the same line, must 
be executed with a semicircular movement of these instru- 
ments, commencing downwards. The left hand cannot 
attain an actually vertical position ; the notation denotes 
the nearest approach to it. 

The ascent of the hands on "glad," in the eighth 
line, is almost direct ; but they are not as wide apart at 
the cessation of the motion, as at the termination of the 
previous gesture. 

The points of agreement in sentiment, in the preceding 
examples of the four different modes of communication, 
impart a general resemblance in the visible expression 
of the passages, which affords means for illustrating the 
modifications of style ; and shows, that, though indi- 
vidual gestures may be similar, and variations but slight, 
there are sufficient discriminative marks, to constitute 
distinctive character. 



Personative Action, 

Ideognomical and even pathognomical gesture are 
diversified by peculiarities of personal action, or such 
habitual action as results from temperament, mental 
constitution, and physical state. Exemplification of this 
property of gesture may elucidate the variations in 
executive character requisite in personation. In the 
25* 



294 EXEMPLIFICATION OF 

following examples, attributes of the action of those 
personages whose characteristic voice has been pre- 
sented, are given. 

Cato. — Limitation; slow, free, and decisive motion; definiteness 
in application ; restriction in continuity. 

Othello. — Moderation; force; movements in mixed lines. 

Iago.* — Limitation; slowness; continuousness ; head inclined 
forward. 

Roderigo. — Limitation; slight rapidity; feebleness of motion; 
indetermination ; instability. 

Desdemona. — Moderation ; slowness ; gentleness. Ophelia's action 
resembles Desdemona's, but is more animated. In the country Julia, 
the gesture has the moderation and gentleness of Desdemona's, but is 
vivacious. 

Emelia. — Moderation; quickness; abruptness. 

Polonius. — Misdirected slight energy; frequency of motion ; ab- 
ruptness; body inclined forward. 

The Ghost of Hamlet's Father. — Limitation ; general absence 
of motion ; erect attitude. When movements occur, they are executed 
in curved lines. 

First Grave-digger. — Moderation; slow and slightly jerking 
motion in crooked lines; compression of the lips; shoulders drawn 
downward ; trunk thrust forward ; slight bend of the knees ; very 
slow movement of the feet. 

Queen Gertrude. — The action of Queen Gertrude is, in some 
respects, the female counterpart of that of Cato ; but there is greater 
continuity and greater limitation. 

Caliban. — Moderation ; force ; ruggedness ; angular movements. 

Ariel. — Limitation ; lightness ; graceful freedom. 

Miranda. — Limitation; slowness; frequent attitudinal expression; 
upper eyelid raised ; lips parted. 

Lord Ogilbt. — Moderation approaching to limitation; enforced 

* " The Janus glance of whose significant eye, 
Learning to lie with silence, would seem true, 
And without utterance, save the shrug or sigh, 
Deal round, to happy fools, its speechless obloquy." — Byron. 



PERSONATIVE ACTION. 295 

vivacity ; irregular motion, arising from physical prostration ; attempted 
grace. 

Mr. Sterling. — Moderation; ponderous movements with medium 
rapidity in direct lines; arms thrust out in motion; head thrown 
back ; tread heavy. 

Mrs. Heidelberg. — Moderation; frequency of motion, particularly 
of the head ; angular movements. 

Master Walter. — Limitation; slow, curved, and decided move- 
ments ; stability of mien. 

The City Julia. — The action of Julia in the city, is marked by 
the display of varied inclinations of the head, extended waving move- 
ments of the arms, frequent curvings of the body, and the width of 
the step. 

Huon. — Limitation ; circumscription and reserve. 

Countess. — Limitation; force; curved movements with abrupt 
terminations; frequent expression by attitude; head elevated; eye 
glances downward. 

Cassius. — Medium energy; abruptness; promptness; motion in 
direct lines : hand frequently clenched. 

Richelieu. — Alternate moderation and magnificence; feebleness 
approaching to tremulousness ; deliberation ; occasional suddenness 
of motion. 

Abrastus. — Limitation approximating to magnificence; flowing 
motion, with slight energy. 

Mr. Solomon. — Moderation ; connection of slow with rapid move- 
ments ; trunk inclined forward, but frequently placed in a nearly erect 
position ; eyebrows slightly raised and contracted ; lips compressed. 

Lady Macbeth. — Energy with moderate rapidity; occasional bold- 
ness ; steadiness in general posture. 

Catharine. — Moderation; rapidly jerking motion ; frequent move- 
ments of the feet, and frequent change in general posture. 

Trifling as these characteristics of personal action 
may seem, and little as they may present of the gesture 
of each character, they yet furnish an index to the 
personal mode of executing gesture. When these points 
are regarded, and the consistency of the general action 
is observed, the personal gesture is assumed. 



296 EXEMPLIFICATION OF 

Dramatic Expression. 

In the examples which follow, gesture is applied to 
passages whose vocal expression has been denoted. The 
combination of voice and gesture illustrates their mu- 
tual relations, and completes expression. 

Othello SoinoauiziifG. 

Rage and Threatening. 

Great energy and medium boldness. 

BcNdLrA)^ BlcNrLr 

cleqbn — upehq — Bvehq 

1. " If I do prove her haggard, 

Ll L2 aR2 

Bl Lwl Art 
Bwpehf B gr br 

2. Though that her jesses were my dear heart-strings, 

Bvehf slhf— cldx 

3. I'd whistle her off, and let her down the wind, 

aL2 

Be Al 

(B cleqbn Bplhf) D B d E, BnR 

4. To prey at fortune." . 



B2 

Sorrowfulness and Palliation. 
Moderation ; slowness of motion. 

2 

H d f Btcbr Bupldq 

4. "Haply, — for I am black, 



v 1 h q — up ■Q.h.fvc* 



5. And have not those soft parts of conversation 

snhf— D 

6. That chamberers have; or, for I am declined 

Bpldx 

7. Into the vale of years; — " 

aR2 



* Small vertical circle. 



DRAMATIC EXPRESSION. 297 

Rejection. 

Moderation, slight energy. 

Be Ls c 
(dtlhf bn — dtlhx — ) 
8. "Yet, that's not much." 

Rl 



Grief, Rage, and Disgust. 

Great energy, medium boldness. 

BcCrNdAri Nr Nd 

Hb (Bdefbn Bplhf) Hf Hd Bvoeh.ec Bslhf 
9. " She 's gone ! I am abused ; and my relief 

Rl R2 Rl 

NrLr Al T s Ls s 
Bvlhfrf Bvlhf Hb Bcleqbn Bveeq&re 

10. Must be, — to loathe her ! Oh ! curse of marriage, 

R2 Rl 

pi hf — gr br — 

11. That we can call these delicate creatures ours, 

B.2 

Nd 

vlhq vehq — 

12. And not their appetites!" 

rL2 

Self-loathing. 

Great energy, slight boldness. 

Ld\ Nr Lr 
Bcleqbn pidf — pedb 

13. "I had rather be a toad 

Rl R2 

. t o e f — " tip s d f — 

14. And live upon the vapor of a dungeon, 

Rl R2 

p h h f — up 1 br — 

15. Than keep a corner in the thing I love, 

Rl 
Bvlbq 

16. For others' uses!" 



298 EXEMPLIFICATION OF 

The presentation of the significancy of the signs, in 
the illustration of the four styles of gesture, affords a 
key to notation. This obviates the necessity of append- 
ing to every noted passage an explanation of the signs. 
When the import of a special sign or notation may not 
be apparent, it is given. 

Line 9. — Hf is the position of the head at the termination of the 
gesture of the hands on " gone," (B p 1 h f ). 

10. — Hb B cl e q bn accompanies "Oh." Ts Ls s Bveeq&w 
commences on "curse." 

15. — The first h in p h h f — signifies the holding state of the fingers. 

Hamlet to his Mother. 

Earnest Reproach, Slight Disdain. 

Moderation, slight energy; motion comparatively slow. 

Nr Al 
(Sitting on the right.) v 1 h f — 

1. "Proclaim no shame, 

B c Ls c Br Xss 
cl h f br sh — i i br s7i B up 1 h f p 

2. When the compulsive ardor gives the charge, 

u 

2 

— up i e q Tm ad (Btehf bnd Bvlef ) (BpedqoBmlef i) 

3. Since frost itself, as actively doth burn, 

Nr Lr 
H — (snhc — snhq — ) br — 

4. And reason panders will." 

Line 3. — ad denotes that the hand ascends from its position on 

2 

"frost," and then descends to the same position. (B tc h f bn d B v 
lef). The hands. descend before ascending. The first movement 
in the succeeding gesture is outward, the second, inward. 



DRAMATIC EXPRESSION. 299 

Richard III. challenging Richmond. 

Calling, Defiance. 

Great energy and boldness. 

The corporeal effort required to execute the volume 
and pitch demanded by the appropriate expression of 
the following passage, renders vehement gesture un- 
avoidable : but, though the action results from the vocal 
execution, its direction should be determined by the will. 
The shield on the left arm, and the sword in the right 
hand, may, to some extent, embarrass and restrain the 
execution, but they are instrumental in imparting signi- 
ficancy. The hands may be deemed clenched throughout 
the action ; therefore, the position of the palm and the 
disposition of the fingers are not noted. The physiog- 
nomical expression, and the general character of the 
action, may be indicated by the following language of 
Shakspeare : — 

" Then imitate the action of the tiger ; 
Stiffen the sinews, summon up the blood, 
Disguise fair nature with hard-favored rage; 
Then lend the eye a terrible aspect, 
Let it pry through the portage of the head, 
Like the brass cannon ; let the brow o'erwhelm it. 

"Now set the teeth, and stretch the nostril wide, 
Hold hard the breath, and bend up every spirit 
To its full height!" 

— hf — 6r (he- hx— ) eq — 

" Now, if thou dost not hide thee from my sword, 

L2sp LI 



300 EXEMPLIFICATION OF 



cb — ■ — e c 

Now, while the angry trumpet sounds alarms, 

sp LI 



And dying groans transpierce the wounded air, 

e b — dx — hf b q — br 

Richmond ! I say come forth, and singly face me ; — " 
sp L2 Ll 

Vocal Exhaustion. 

Moderation. 



R— br- 



"Richard is hoarse with daring thee to arms!" 

L2 
OSRICK RELATING TO HaMLET THE King's WaGER. 

Effeminacy, Vanity, and Affectation. 

Moderation; feebleness of motion. 

Cr Ls s 

B^ihf* Bnnhq 

" Three of the carriages, in faith, are very dear to fancy, very 

L2 

1 
Bichf Bwplhf Bvleq 

responsive to the hilts, most delicate carriages, and of very liberal 
conceit." 

Launcelot Gobbo deliberating on the Propriety of 
leaving shtlock. 

Clownish Pertness, Sportfulness, and Self-esteem. 

Moderation. 

Be Ls c p 

Hfs/t — ii br B up Ihf 

1. " Certainly, my conscience will serve me to run from this 

— up i b. f 

2. Jew, my master. 

The body is supported equally on both feet; and change in the 
position of the feet is frequent. 

* The arm moves mainly from the elbow throughout the action. 



DRAMATIC EXPRESSION. 301 

Be Al Br 

— i i br H r i sh — v i e f bn sh 

3. "My conscience says — no; take heed, honest Launcelot, — 

Br B r Ls c 

— viefbnsh Ub — br 

4. take heed, honest Gobbo; or, as aforesaid, honest Launcelot 

Be B c A 1 Ls p 

— vlhq B vlhq 

5. Gobbo, do not run, scorn running with thy heels." 

Line 1. — Hf sh. Head shaking vertically in the forward position. 
3. — H r 1 sh. Head shaking laterally. 

Queen Constance to the Arch-duke of Austria. 
Abhorrence and Derision. 

Magnificence, medium energy. 

Ldw rNr TsZssCr N r 

pihf— vlhf-ddx Bvehf 

1. "Thou slave! thou wretch! thou coward! 

Rl R2 Rl 

L r Ldw rNr Br Art Nr 

pihf— vlhf— Blnhq Bvlhf 

2. Thou little valiant! great in villany! 

R2 Rl 

B re Br Nr Lr 

pihf— cZhf— indb vleq — ddb 

3. Thou ever strong upon the stronger side ! 

R2 
Br JEBd Lr 
(dtlhc — dtlhx— ) clhx— Bvlhf Bylhq 

4. Thou Fortune's champion, that dost never fight 

rLl 

Ldw r L r N r 
up 1 h ec i — 

5. But when her humorous ladyship is by 

L2 

dt\ h q — 

6. To teach thee safety!" 

Line 1. — v 1 h f — Bvehf. These gestures necessarily imply a 
preparatory retraction of the hand to the breast. The same is im- 
plied in the gesture, Bvehf, in the fourth line. 

5. — up 1 h ec i — . Right hand moves inward to the horizontal ex 
tended cross position. 

26 



302 EXEMPLIFICATION OF 

Mercutio describing Mab. 
Glee and Fancifulness. 

Moderation. 

Br Cr 

snhf — (snhcl — snhf — snhq — ) 

1. "And in this state, she gallops night by night 

El 

EBu 

p i h ec — H — v n e f lie — — br 

2. Through lovers' brains, and then they dream of love, — 

R2 Rl 

pnhf — schf — phlif — phef — 

3. O'er lawyers' fingers, who straight dream on fees, — 

EBu 
pnhc — ynefte — L — vnef — 

4. O'er ladies' lips, who straight on kisses dream." 

E2 

Line 1. — snhel — hand moves to the left, from the horizontal 
forward position. 

2. — he in v n e f he — denotes a horizontally circular movement in 
front of the forehead. 

3. — c in schf — represents the collected state of the hand. 

Cardinal Beaufort ok the Eve of his Death. 
Despair, Remorse, and Physical Suffering. 

The reclining posture and physical condition of Car- 
dinal Beaufort, give a character to the appropriate 
gesture, which renders every quality inapplicable as a 
denotement of general characteristics. The action may 
be either extremely feeble or spasmodically energetic. 
The action of the countenance, shoulders, and fingers, 
and the movements of the arm from the body, are solely 
the subjects of notation. The movement of the arm is 
signified by f. 



DRAMATIC EXPRESSION. 303 

Bl Ldv Art I EBd Ls s (Skin livid.) 

lS*r Bef 

"Bring me to my trial when you will! 

EB dl 

Sr sf-s SI Mo 

Died he not in his bed 1 Where should he die 1 

JEBf EBd Mo 

SfB^r Sf 

Can I make men live, whether they will or no? 

C r Art 



Sr Bcp 

Oh ! torture me no more — I will confess. — 

EBd Mo 

rSr Bgr Bsf 

"Alive again? then show me where he is; 

-grf 
I'll give a thousand pounds to look upon him!" 



Shtlock rejoicing over the Prospect of Revenge on Antonio. 
Rancor, Savage Rapture, and Sanguinary Purpose. 

Great energy. 

Crlss A)'i! B c T s 

1 2 

Baphfrb (B gr ef Bgr h f) (B op ef B gr h x) 

" I am very glad of it ! I '11 plague him ! I '11 torture him ! I am 

Rl R2 Bl B2 

Cr Lr Art Nd 



Baphf rb 
glad of it!" 
Rl 

rb signifies the action of rubbii 



* When the gesture of one shoulder is noted, the S is preceded 
by an r or I, to denote whether the shoulder is the right or the left. 



304 EXEMPLIFICATION OP 

Timothy Quaint to Mrs. Fidget. 
Quiet Humor and Broil Sarcasm. 

Moderation; movements in direct lines. 

B r Ls c 
Hrlsft — uplhcbn wplbfp — (L — nnbq — ) 

1. "No it doesn't follow, it generally goes before: you retail 

B up 1 h q B up hhq 

2. your knowledge every week-day in small paragraphs; and on 

— alhf Bvlhf upihf— Bslhf , Bslhq — 

3. Sunday, you rush forth yourself, fresh from the press, — a walking 



(BsnefBsnbf) 



4. journal of weekly communication." 

The body is supported equally on both feet: — no change in the 
position of the feet. 

Line 4. — (B s n e f Bsnhf). The movements in this gesture 
should be made in curved lines. 



Lear's Confusion in Regard to the Intelligence commu- 
nicated BT GLOSTER, THAT CORNWALL AND REGAN ARE NOT 
TO BE SEEN. 

Senility, Irascibility, Authoritativeness, Paternal Affection, Doubt, 
Perplexity, Amazement, Anger, Vexation, Forgiveness* 

Slight boldness on the first line : tremulousness, general. 

Brc 

II b F cl d x — cl br p i h q — 

1. "The king would speak with Cornwall; 



Ll 

Cr Al (Moderation.) 

Hdfin&r — up ihq — L — snhf — 

2. The dear father would with his daughter, speak, — 

L2 

service. 



(Medium boldness) 
H b up 1 h q — 

commands her 

Ll 



* The last eight affections are portrayed in succession. 



ORATORICAL EXPRESSION. 305 



B 1 c A r (Slight energy.) 
Hdf Bslhfinef&tt— Bslbq 

3. Are* they informed of this? 

L2 

Bclss Arid (Moderation.) 
Hf 



4. Fiery? — the fiery duke? — 

L2 



Br Ldv Mo (Limitation.) 
B v 1 e x b 

My breath and blood ! 
El 

B r c (Medium boldness.) 
II b up 1 h f — up i h q — 

Tell the hot duke, that — 

Ll 



Cr Al (Moderation.) 

vlhfire— ILfsh Bnndx 

5. No, — but not yet; — may be he is not well." 

L2 

Line 3. — B v 1 e x b. b represents the backward movement of the 
arms. 

Macbeth to the Ghost of Banq.uo. 

Maddened Rage, the Courage of Despair, and the Mandate of 
Horror. 

Great energy and boldness. 

Br Ldv Mo Al 

(Bvoehfrt Bi-oehf ) (Bvoehfrt Bvoehf ) B vo e h f rt D F Bwehf 

"Avaunt ! and quit my sight! Let the earth hide thee!" 

stUlx aL2 Ll L2 



Oratorical Expression. 

Earnestness, Indignation, and Exculpation. 

Magnificence and great energy. 

Be Xsc ZcZlNrLr 

slhf— cZdx Bvlhf 

"That principle which makes it base for a 

K2 rRl 

Br B c Ls c 

B n n h x cl h f — cldx Binhec 

man to suffer when he ought to act; which, tending to preserve 

R2 

Nr Lr 
B p 1 h q dt i e f bn TJ vneq — (Bvolhec Bvolhx) 

to the species the original designations of Providence, spurns at 

Rl R2 



26* 



306 EXEMPLIFICATION OF 

Brc Nr 

Kbclhec — cldb slhc — slhq B clex Bvnec 

the arrogant distinctions of man, and vindicates the independent 

Rl R2 

Bvneq. Bslhq 

quality of his race." 

Rl 



Apostrophe from a Sermon of Robert Hale. 

Reverence, Congratulation, Joyous Confidence, Solemn Annuncia- 
tion, Admiration. The last four in succession. 

Slight energy, augmenting to medium. 

Ld\ 
U*B«pldx Binb.ec Bpldx 

"Enjoy that repose, illustrious immortals! Your mantles fell, 

R2 Bl 

Br Fex 
Bvndx B p 1 b x B v eefbn vile f — 



when you ascended ; and thousands, inflamed with your spirit, 

R2 

Ldv EBu 
Bclefbn pnbf— m'lef— vnZ.— viZ — 

and impatient to tread in your steps, are ready to swear by Him 



Rl 



viz — 



that sitteth on the throne and liveth for ever and ever, that they 

Be Br LdT Be 

1 
cZ d x B i n b c Bwehc plhb— (B £c e f &« B p 1 d b) snbf— 

will protect Freedom in her last asylum, and never desert that 

R2 Rl 

Bslhf wlef- B ape ibn— vilef— 

cause, which you sustained by your labors, and cemented with your 

R2 Rl 

blood." 



* Upward look throughout. 



DIDACTIC EXPRESSION. 307 

The Determination of Hxder All — Burke. 

Aive, Gloom, Wonder, and Magnitude of Devastation. 

Limitation on the first division ; magnificence on the second ; mode- 
ration on the third. 

i 

BcZsc BlcAl Br 
(dt n H — cZ d x — ) veeqim B v 1 e q 

"He resolved, in the gloomy recesses of a mind capacious of 

Ll 



x . a Lo (pnhco* — pnhb — ) Bwex i?oBvl 

such things, I to leave the whole Carnatic an everlasting monu- 
I L2 Ll 

Ldv Al EBd 
Z plhx — vehc t-oleq — wlec 

ment of vengeance, and to put perpetual desolation, as a barrier, 

ri b,2 

3 B r Ld 1 EB u 

2 

B v 1 h f bn Bin if 

against whom, the faith which holds the 



Bteef pnhb — — snhc 
between him and those, 



Rl 



Ldl ! 

2 1 

Btcbr Bplhx Baphf Bvlhf BR 

moral elements of the world together, was no protection." 



Didactic Expression. 

Moderation. 

Br Br 

DF snh f — dtn F — (inL — snhq — ) — sleq 

1. " Reading makes a full man, conversation a ready man, and 

L l 

Dr(plihc— phhf— )Bwplhf (dti ef — upi hf) plhf— pehf— 

2. writing an exact man. Therefore, if a man write little, he 

Br Ldr Ldv 

vlef — dtuQi— (dtnei— snhq— ) vpshq — vine 

3. needs a great memory; if he converse little, he wants a pre- 

* o. The hand moves outward. 



308 EXEMPLIFICATION OF 

Br Ldx EB\ 
fl— voleq— ) snhf— vlhf— Bvnef dtief— 

4. sent wit ; and if he read little, he ought to have much cunning, 

Br Ld\ 

(uoleqr — t'ilec— ) — slhq— vlhq R 

5. that he may seem to know what he does not." 

Line 2. — The fingers attain their position on " little" — p e h f — by- 
springing from a collected position. 

3. The hand should move rapidly in executing the action on 
"present." 

4. The gesture on "little" — vlhf — , is a sudden change in the 
position of the hand. 

5. — The motion in the gesture, (vo leqr — vile c — ), must be slow. 



Poetic Expression. 

Joxousness. Beauty of Scenery. 

Limitation. 

CrBrisc Cr Br 

scshfth— Bnlhx II or D slhf- 

1. "Thy grasp is welcome as the hand 

El 
br — HI — pnhx 

2. Of brother in a foreign land ; 

K2 tr L 2 

Brc Br Cr 

volZ — — vneecbn 

3. Thy summons welcome as the cry 

aS2 

pnhbn — Krdtn'E- 

4. That told the Indian isles were nigh, 

Rl 

— p i h ec 

5. To the world-seeking Genoese; — 

R2 



POETIC EXPRESSION. 309 

Lo vnef F Bsllaf 

6. When the land-wind, from woods of palm, 

cR2 

Lo(snhe — snh q — ) F (Bpnhc Bnnhq) 

7. And orange groves and fields of balm, 

Lo Bplhfaad 

8. Blew o'er the Haytien seas." 

Rl R2 

Line 1. — scshfth — . cs the clasped position of the single hand; 
th the action of throwing. 

4. — pnhbn — . The fifth letter signifies the action of noting. 
H r dt n E — . The hand approaches towards the right eye. 

6. — c R 2. The crossing movement of the feet, places the front of 
the body in a position which forms, with the line of the front on 
" Genoese," an angle of about thirty-five degrees. 

8. — Bplhfaad. Before the hands reach the position indicated, 
they must execute an ascending circular movement in front of the 
body, and then, the advancing movement. 



Imprecation, Detestation, Scornful Reproach. 
Magnificence, medium energy and boldness. 

Brc Ls c NrLr Br 

TJ Brilef B L vol h x Bsphx 

" May their fate be a mock-word ! May men of all lands, 

Rl R2 Rl 

Cr Nr Lr 2 

Bvleq (Bfchfk Bplhx) 

Laugh out, with a scorn that shall ring to the poles, 

R2 Rl R2 

Blc Art NrLrTs 
up cs hq — ics dx d shq— sdsdx 

When each sword that the cowards let fall from their hands, 

v gr eq — d^rdx pshqp — dsdx 

Shall be forged into fetters to enter their souls." 

Rl R2 



310 ADDITIONAL EXAMPLES. 

BuKlESaUE DlGNITY. 

Moderation. 

Br Ld r is s 
B up e h f bn up 1 h f — 

"Good lack! quoth he, yet bring it me, 

isp 

B S 

My leathern belt likewise, 

up cs S — B 

In which I bear my trusty sword, 

lib 
When I do exercise." 

Each foot in this example is placed at full length upon 
the ground. Hb, on the last line denotes that the head 
leans slightly back from its previous position, which is 
erect and stiff. 

Additional Examples. 
The following examples are presented for the purpose 
of introducing elements which have been described, but 
not applied. 

Ophelia's Despondency on the Apparent Madness of Hamiet. 

Limitation. 

EBu Al 

Hfcl Biradf 

"Oh ! woe is me!" 

R2 

i 
in. The first inclosed position of both hands. 

Mark. Antony at the Corpse of Cesar. 
Excessive Grief. 
Limitation. 
Be Cr Al 



D Bwhf BMrhf- 



Oh ! pardon me, thou bleeding- piece of earth ! " 



CONCLUDING REMARKS. 311 

Both hands are ivringing on "oh," and linked on "pardon,-' and 
throughout the line. The lower limbs kneeling. 

Predictive Devastation. 

Medium energy, slight boldness. 

"And Caesars spirit, ranging for revenge, 
With Ate by his side, come hot. from hell, 
Shall, in these confines, with a monarch's voice, 

Brc Ld r Art 
clhfst — p cr e q bn re — 

Cry — 'havoc,' and let slip the dogs of war!" 

aR2 rKl 
The hand recoils, after executing the striking movement on " havoc." 

From Young's Night Thoughts. 
Wonder and Admiration. 

Magnificence. 
B c Ld r Ls c Br Mo 

3 

Btchf Bvlef 

"How complicate, how wonderful is man!" 

El R2 

3 

tc, third touching position of both hands. 

Both of the gestures must be executed with one continuous movement. 



Concluding Remarks. 

The principles and instrumentality of expression, as 
adapted to the observer in the twofold relation of auditor 
and spectator, have now been presented. Accuracy of 
execution in the art of expression, is dependent upon a 
knowledge of the nature and formation of what is 
executed, and a due regard to the principles of applica- 
tion and association. The practice of an art which is 



312 CONCLUDING REMARKS. 

subservient to the varied moods of the mind, is, neces- 
sarily, almost unlimited in diversification ; comparatively 
few of the various forms of elementary combination are 
therefore imparted by the notations of voice and gesture : 
but the execution of each notation and of both nota- 
tions combined, in accordance with the design of the 
work, can be effected, only by regarding the relation of 
every mode of voice or of gesture to the mind, instead 
of viewing it as a mere appliance of verbal language : 
consequently, the notations afford a guide to the illus- 
tration of every shade of thought and passion, and 
obviate the necessity of additional examples of the asso- 
ciation of the expressive elements. The notations like- 
wise impart facility in the use of the mechanical part 
of expression. 

Though every form of expression has not been intro- 
duced, the agency of every instrument has been deve- 
loped. The student has not been taught, merely to 
delineate a passion, give perspicuity or "earnestness" 
to vocal delivery, or to "suit his face to all occasions," 
but also that consummation of expressive communication 
which is attained by 

" His whole function suiting 
With forms to his conceit." 



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WYTHE'S MICROSCOPISTS' MANUAL FOR STUDENTS AND 
OTHERS, with numerous Illustrations. - Cloth 1 00 
WRIGHT'S AMERICAN RECEIPT BOOK, containing 3000 Re- 
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Cloth 1 00 

OVERMAN'S PRACTICAL MINERALOGY, ASSAYING AND 

MINING 12mo. .... Cloth 75 

FOR FAMILIES. 

SMITH'S DOMESTIC MEDICINE, &c. &c, for families, 

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THE FAMILY MEDICAL CHEST COMPANION, or Domestic 

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Diet, Management of the Sick Room, Administration of Medi 

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BULL ON THE MATERNAL MANAGEMENT OF CHILDREN 
IN HEALTH AND DISEASE, 12mo. - Cloth 75 

ILLUSTRATED SCRIPTURAL LIBRARY. 

THE WOMEN OF THE SCRIPTURES, containing the Female 
Characters of the Old and New Testament, Illustrated by 
11 Steel Engravings, and 2 Illuminated pages. Octavo. 

Cloth, Extra Gilt Edges 3 00 

Do. do. do. Turkey Morocco 4 00 

SCENES IN THE LIFE OF THE SAVIOUR, by the Poets and 

Painters, Illustrated by 8 Steel Plates and 2 Illuminated pages. 

Octavo, in - - Cloth, Extra Gilt Edges 3 00 

Do. do. do. Turkey Morocco 4 00 



Lindsay & Blakiston's Publications, continued, 

SCENES IN THE LIVES OF THE PATRIARCHS AND PRO- 

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pages. Octavo, in - Cloth, Extra Gilt Edges 3 00 

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SCENES IN THE LIVES OF THE APOSTLES, with 8 beautiful 

Illustrations on Steel and 2 Illuminated pages. Octavo, 

Cloth, Extra Gilt Edges 3 00 
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AMERICAN AND BRITISH FEMALE POETS. 

THE AMERICAN FEMALE POETS, with Biographical and Cri- 
tical Notices, and copious Selections from their Writings, by 
Caroline May, author of Treasured Thoughts, &c. &c. 

Octavo Edition, 12 Steel Plates, Cloth, Gilt Backs $2 00 
Do. do. Library Sheep 2 25 

Do. do. Cloth, Extra Gilt Edges 2 75 

Do. - do. Turkey Morocco 4 00 

12mo., cheap Edition, 2 Steel Plates, Cloth, Gilt Backs 125 
Do. do. Cloth, Extra Gilt Edges 1 75 

BRITISH FEMALE POETS, with Biographical and Critical No- 
tices, and copious Selections from their Writings, by the Rev. 
Geo.'W. Bethune, D.D. 

Octavo Edition, 12 Steel Plates, Cloth, Gilt Backs 2 00 
Do. do. Library Sheep 2 25 

Do. do. Cloth, Extra Gilt Edges 2 75 

Do. do. Turkey Morocco 4 00 

12mo., cheap Edition, 2 Steel Plates, Cloth, Gilt Backs 1 25 
Do. do. Cloth, Extra Gilt Edges 1 75 

THE CHRISTIAN FAMILY LIBRARY. 



Plates, 12mo. - - Cloth, Gilt Backs 1 00 

Do. do. do. Extra Gilt Edges 1 50 

SCENES IN THE LIFE OF THE SAVIOUR, Twelve Plates. 
12mo. - - - Cloth, Gilt Backs 1 00 

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SCENES IN THE LIVES OF THE PATRIARCHS AND PRO- 
PHETS, Twelve Plates. 12mo. Cloth, Gilt Backs 1 00 
Do. do do. Extra Gilt Edges 1 50 
SCENES IN THE LIVES OF THE APOSTLES, Twelve Plates. 
12mo. - - - Cloth, Gilt Backs 1 00 
Do. do. do. Extra Gilt Edges 1 50 



Lindsay & Blakiston's Publications, continued, 

PRESENTATION AND POETICAL WORKS. 

WATSON'S NEW DICTIONARY OF POETICAL QUOTATIONS, 

consisting of Elegant Extracts on every subject, compiled 

from various authors and arranged under appropriate heads. 

Octavo Edition, 9 Steel Plates, - Cloth, Gilt Backs 2 00 

Do. do. - - Library Sheep 2 25 

Do. do. - Cloth, Extra Gilt Edges 2 50 

Do. do. - . - Turkey Morocco 4 00 

12mo. Edition, - Cloth, Plain 1 25 

Do. - - Cloth, Gilt Edges, Sides, &c. 1 75 

Do. ... Turkey Morocco 2 50 

WELD'S DICTIONARY OF SCRIPTURAL QUOTATIONS, or 

Scripture Themes and Thoughts as paraphrased by the Poets. 

Edited by the Rev. H. Hastings Weld. 12mo. 

Cloth, Plain 1 25 

Do. do. do. Cloth, Extra Gilt 1 75 

Do. do. do. Turkey Morocco 2 50 

THE STAR OF BETHLEHEM, a Christmas Present for the Young, 

by the Rev. H. Hastings Weld, with Illustrations, 1 25 

POETICAL AND PROSE ILLUSTRATIONS OF CELEBRATED 

AMERICAN PAINTERS, with 11 Illustrations on Steel. 3 00 

THE WOODBINE, a Gift for the Holidays, by Caroline May, with 

9 Steel Plates. .... Cloth 1 50 

Do. do. do. Turkey Morocco 2 00 

MONTGOMERY'S POETICAL WORKS, collected by Himself, 

with Portrait and Vignette Title page. 
THE ROSEMARY, a Sacred Gift for all Seasons, with Eight Illus- 
trations on Steel, and an Illuminated Frontispiece, 8vo. 

Cloth, Extra Gilt 2 00 

Do. do. do. Eng. Turkey 2 50 

BERNARD BARTON'S LIFE, LETTERS AND POEMS, Edited 

by his Daughter, with, a Portrait, - - 1 00 

Do. do. Cloth, Gilt Edges and Sides 1 50 

Do. do. Turkey Morocco 2 50 

BETHUNE'S LAYS OF LOVE AND FAITH, and other Poems. 

Cloth SI 25 

Do. do. Cloth, Gilt Edges and Sides 1 50 

TREASURED THOUGHTS FROM FAVOURITE AUTHORS, by 

Caroline May, author of American Female Poets, &c. 12mo 

Cloth 1 00 
Do. do. do. Turkey Morocco 2 50 

THE YOUNG LADIES' HOME, by Mrs. L. C. Tuthill. 12mo. 

Cloth, plain 75 
Do. do. do. do. " gilt $1 25 



Lindsay & Blakiston's Publications, continued. 

RELIGIOUS WORKS. 

HEAVEN, OR THE SAINTED DEAD, by the Rev. H. Harbaugh; 

the Fifth Edition. 12mo. - - Cloth 75 

THE HEAVENLY RECOGNITION OF FRIENDS, by the Rev. H. 

Harbaugh. Second Edition. 12rao. - Cloth 75 

THE EMPLOYMENT OF THE SAINTS IN HEAVEN, by the 

Rev. H. Harbaugh. 1 vol. 12mo. Preparing. 
GOD, IN DISEASE ; or, The Manifestation of Design, &c. By 

James F. Duncan. In press. 
THE POLYGLOTT BIBLE. l2mo., clear type, 

Library Sheep 1 25 

Do. do. " " Embossed 1 25 

Do. do. " " London Calf 1 75 

Do. do. " " Turkey Morocco 3 00 

This Bible is well bound and printed, and is superior to any other 

Bible of its size in the market. 
A BIOGRAPHY OF MARGARET MERCER, by Caspar Morris, 
M.D. 12mo. - - - Cloth 63 

A MEMOIR OF WM..R. FALES, THE PORTSMOUTH CRIP- 
PLE. 18mo. .... Cloth 38 
BROWNING'S CONVICT SHIP, with Preface and Notes by Rev. 

J. H. Fowles, 63 

A GENERAL HISTORY OF THE SEVENTH-DAY BAPTIST 
CHURCHES, by Mrs. Tamar Davis. 12mo. Cloth 1 00 

MISCELLANEOUS. 

WATSON'S CAMP FIRES OF THE REVOLUTION, with 50 

Original Illustrations, by Croome. 8vo. 

Cloth, Gilt backs, Marble Edges $2 00 

Do. do. Morocco " " " 2 25 

WALKER'S RHYMING, SPELLING AND PRONOUNCING 

DICTIONARY. Royal 12mo. - - - 1 50 

MATTHIAS'S LEGISLATIVE MANUAL, or Guide for Organizing 

and Conducting Public Meetings. 18mo. Cloth 38 

PHILADELPHIA AS IT IS, IN 1852, with a Map and numerous 

beautiful Illustrations. Published and Revised annually. 12mo . 

Cloth 1 50 
MACKAY'S EXTRAORDINARY POPULAR DELUSIONS, 2 vols. 
12mo. ... -_ Cloth 2 00 

12mo. 
Cloth 75 



10 



Lindsay & Blakiston's Publications, continued. 

FANNY FOLEY'S ROMANCE OF THE OCEAN. l2mo. 

Cloth 75 
MANURES ; their Composition, Preparation and action upon 
Soils. 18mo. £ - - Cloth 25 

TUCKERMAN;S CHARACTERISTICS OF LITERATURE, 1st 
and 2d series. 12mo. - - Cloth, each 75 

Do. do. do. 2 vols, to match, 1 50 

DARLINGTON'S MEMORIALS OF JOHN BARTRAM AND 
HUMPHREY MARSHALL. Octavo. - Cloth 2 00 

A HISTORY OF ARCHITECTURE, from the Earliest Period, with 
a Glossary of Architectural Terms, and nearly 200 Illustra- 
tions. 8vo. - Cloth 3 50 
THE LIFE AND CORRESPONDENCE OF PRESIDENT REED. 
Edited by Wm. B. Reed, Esq., 2 vols. 8vo. Cloth 4 00 
GRAYDON ! S MEMOIRS OF HIS OWN TIMES, 1 vol. 8vo. 2 00 
THE YOUNG WIFE, a Manual of Moral, Religious and Domestic 
Duties, Illuminated title. Extra Cloth, Plain Edges 38 
Do. do. " " Gilt " 50 
THE YOUNG HUSBAND, a companion to the Young Wife. 

Extra Cloth, Plain Edges 38 

Do. do. do. " " Gilt " 50 

ETIQUETTE FOR LADIES. " " Plain " 38 

Do. do. " " Gilt " 50 

ETIQUETTE FOR GENTLEMEN, a pocket manual. 

Extra Cloth, Plain Edges 38 
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HANDBOOK FOR THE MAN OF FASHION 

Extra Cloth, Plain Edges 38 
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JOHNSON'S POCKET DICTIONARY, Diamond Edition, with a 
Portrait and Table of Names of distinguished deceased Ameri- 
cans, 32mo. .... Cloth 38 
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Do. do. do. Tucks. Gilt Edges 63 
HALIBURTON'S YANKEE STORIES, a new and improved edi- 
tion, with Illustrations. Royal 12mo. On fine paper. 

Cloth Si 00 
do. Cheap Edition, Paper Covers 50 

SCHOOL BOOKS. 

SERON'S NEW MODERN FRENCH READER. Mosaique 
Frangais au Choix de Sujets, &c. 12mo. Half Roan 75 

jESOP'S FABLES, in French, with a French and English Die 
tionary of the Terms used in it. 18mo. Half Roan 38 



11 



Lindsay & Blakiston's Publications, continued. 

WILLEMENPS CATECHISM of FAMILIAR THINGS. Re- 
vised, with additions by an American Teacher, for the use of 
Schools and Families. 12mo. - Half Roan 50 

RAWSON'S DICTIONARY of the SYNONYMIC AL TERMS of 
the ENGLISH LANGUAGE, - - 63 

JARVIS^S PIANO-FORTE INSTRUCTOR, a new and improved 
edition, - Half Bound 1 50 

This Work is recommended by Darley, Cross, and other teach- 
ers of the highest standing. 

MY LITTLE GEOGRAPHY, for PRIMARY SCHOOLS, edited by 
Mrs. L. C.Tuthill, with numerous original Illustrations, 19 



L850. S 



Chamber of the Controllers of Public Schools, 

First School District of Pennsylya^a, 

Philadelphia, October 8th, 1850. 
At a Meeting of the Controllers of Public Schools, First District, of Pennsylvania, 
held at the Controllers' Chamber, on Tuesday, September 10th, 1&50, the following 
Resolution was adopted : 

Resolved, That the work entitled "My Little Geography, by Mrs. L. C. Tuthlll," 
be introduced, to be used in the Primary Schools of the District. 

ROBERT J. HEMPHILL, Secretary. 
To Messrs. Lindsay & Blakiston. 

HISTORY OF ENGLAND IN RHYME, with References and 
Explanations, for the use of Schools. By Miss Townsend. 
12mo. Half Roan. 



THE YOUNG AMERICAN'S LIBRARY. 

Illustrated, and bound in Cloth, gilt backs, containing, 

THE YANKEE TEA PARTY, or Boston in 1776, by Henry C. 

Watson, author of Camp Fires, &c, with Illustrations, 63 

THE OLD BELL OF INDEPENDENCE, or Philadelphia in 1776, 

by Henry C. Watson, with Illustrations, 63 

THE LIFE OF GENERAL WASHINGTON, 9 Illustrations, 63 

" " BENJAMIN FRANKLIN, 9 " 63 

" " GENERAL LAFAYETTE, 9 « 63 

" <« " MARION, 9 " 63 

« " WILLIAM PENN, 9 " 63 

*< u GENERAL JACKSON, 9 " 63 

" " " TAYLOR. 9 " 63 

THE INDIANS and THE GOLD MINES, or, The Source of True 

Riches., ------ 63 

THE LIFE' of NAPOLEON BONAPARTE, - - 63 

The 11 Volumes, as above, bound in sets, to match, 6 50 



12 

Lindsay & Blakiston's Publications, continued ■, 

JUVENILES. 

THE WONDERS OF THE MICROSCOPE, beautifully Illus- 
trated, for Young People, by Dr. Wythes, author of "The 
Microscopist's Manual.' 7 
THE IVY WREATH, by Mrs. Hughs, with six Illustrations on 
Steel, and an Illuminated Frontispiece. 

Cloth, Extra Gilt Edges, Sides, &c. 1 00 
BUDS and BLOSSOMS for the YOUNG, by Mrs. Hughs, with 
numerous Illustrations, - - Cloth 75 

THE CHILD'S OWN BOOK of ANIMALS, 12 large and beau- 
tifully coloured Illustrations, - - Cloth 1 00 
THE BOYS' and GIRLS' NEW MISCELLANY, over 50 Illustra- 
tions, - Cloth 75 
ALADDIN, or THE WONDERFUL LAMP, 15 coloured Illustra- 
tions, .... . Cloth 75 
THE LIFE and TRAVELS of GENERAL TOM THUMB, (Chas. 
Stratton,) beautifully Illustrated, Cloth, Plain Plates 50 
Do. do. do. do. Coloured 63 
PILGRIM'S PROGRESS, for the Young, beautifully Illustrated, 
• 16mo. .... Cloth 50 
A VISIT TO THE MENAGERIE, by a Father and his Children, 
numerous Illustrations, ... Cloth 50 
MRS. TUTHILL'S JUVENILE GEOGRAPHY, numerous Illustra- 
tions, in Cloth, Gilt Sides 25 
AUNT MARY'S LIBRARY, containing 
Lizzie Linden, Mother's Birth Day, 
Frank Worthy, Proud Girl Humbled, 
May Morning, j Gipsy Fortune Teller, 
Young Artist, Young Sailor, 
Generosity, | Holidays in the Country, 
Each with Coloured Frontispiece, bound in cloth, - 25 
The above ten vols, bound in cloth, in sets, - 2 50 
The same do. do. in boxes, - 2 50 
THE ALPHABET MADE EASY, or One Step at a Time, 

Coloured, Cloth 38 



_ oil 



